.home..artists..labels..new..restocks..best..faq.
.soon.
... on (or around) october 1st, i will be switching over to an entirely new (and entirely functional ; apologies for all the strange bevahior on the site a/o recent ... the breakdown of our long-suffering shopping cart within an hour of the last update going out was the final straw) iteration / implementation of the decade-old mms retail site ...

... everything currently listed on the "closeout" section will not be surviving the journey to the new server / site, which means you have approximately 2 weeks in which to make your final final selections from said before they're cast into the void, never to return ...

... this is your last last chance at ownership of the thousands of fantastic titles on offer therein, which have been marked down essentially to cost ; final final warning !!!
mimaroglu music sales new arrivals
 ( - ) (1) 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20  ( + ) 
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 $20.01

new to stock as of
september 9th, 2014


threads:
1960s-electronic
analogue-synth
electro-acoustic-composition
machine-music
live-electronic
modern-composition

 best of 2014 !!! 
karlrecords (germany) #kr 018 lp

morton subotnickthe wild bull” long playing record

  • the wild bull (1)

  • the wild bull (2)
... second in karlrecordsseries of reissues of mort subotnick’s classic buchla work, pressed to high contemporary spec in germany & sounding uniformly excellent when a/bed w/ the budget-label pressings of yore ...
karlrecords press release ::
re-issued on vinyl for the first time since its original 1968 release! based on an ancient sumerian poem, morton subotnick's follow-up to his highly influential milestone silver apples of the moon (kr 014lp) is no less an adventurous sonic trip on the buchla synthesizer. limited edition (500 items) audiophile 180 gram lp, especially mastered for vinyl.

born in 1933, morton subotnick is a key figure in the progress of electronic music: along with pauline oliveros and ramon sender, he co-founded the san francisco tape music center in 1961 and from 1963 on he worked with don buchla on the development of the early synthesizer "buchla series 100."

in 1967 the composer and musician released his debut silver apples of the moon, which proved to be one of the most influential albums and an undoubted milestone in electronic music (which was even selected for the library of congress in 2009). a year later morton subotnick presented his adventurous follow-up, the wild bull. loosely based on/inspired by an ancient sumerian poem of the same name -- a lament about loss and death caused by war -- the two parts embark on further explorations into the hitherto unimagined creative possibilities of the synthesizer.

forty-six years after its initial release, the wild bull has not lost a single bit of its visionary magnitude and is still an adventurous sonic trip, finally available on vinyl again as an audiophile 180 gram lp that was cautiously remastered for vinyl. limited to 500 items worldwide.

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 $23.01

new to stock as of
september 9th, 2014


threads:
analogue-synth
beat-research
machine-music

onderstroom (belgium) #os 022 lp

martial canterelausterton” long playing record

  • austerton
  • scrawl
  • efface
  • forms
  • herm

  • corners
  • flail
  • gallatia
  • shadow half
  • other hald
... new issue of this 2007 private press side by xeno & oaklander’s sean mcbride, heir apparent to the “outsiderminimal-synth throne previously held by john bender, et.al ...
onderstroom press release ::
much-needed re-issue of this privately released 2007 album. martial canterel's sean mcbride is the progenitor of american cold synth sounds of the 21st century. he began under the moniker moravagine before he started releasing limited edition cassettes and playing brooklyn dives as martial canterel in 2002. since then, mcbride's bleak intellectual exercises in the dark and danceable have flooded north america and europe through the frosty fairwaves paved by pieter schoolwerth's wierd records.

with an inimitable minimal style merging bright, urgent melodies ornamented and punctuated by the noises of industry and mcbride's sonorous, stern vocals, martial canterel's earlier releases (you today, refuge underneath) have garnered both critical acclaim and a rapidly growing rabid fan base. sean is also one-half of the duo xeno & oaklander together with miss liz wendelbo. the album austerton consists of some of his earliest work recorded in 2003. the ten minimal synth songs on the lp are reminiscent of music by bands like dark day, snowy red, a blaze colour, league of nations, etc.

through the collision of a uniquely humanistic means of production via live analog synthcraft expertly paired with vocals and lyrics that reflect the pitfalls and pleasures of our age, martial canterel provides a visceral kick best felt on the dancefloor, amidst a flurry of flesh in motion.

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 $16.51

new to stock as of
september 9th, 2014


threads:
concert-recordings
free-jazz

otoroku (uk) #roku 002 cd

decoy / joe mcpheespontaneous combustion” double compact disc set

  • spontaneous combustion (37:27)

  • spontaneous combustion 2 • set 1 (38:07)
  • spontaneous combustion 2 • set 2 (34:22)
  • spontaneous combustion 2 • encore (5:31)
... double-disc edition of last year’s vinyl set covering both nights of music channeled out of the warm dalston sky by the “organquartet of alexander hawkins, john edwards, steve noble, and joe mcphee ...
otoroku press release ::
otoroku presents a new 2cd version of spontaneous combustion, here with an extra 78 minutes of music added to the original lp material. the original lp was listed in the wire magazine's top jazz & improv releases of 2013.

recorded in october 2011, spontaneous combustion splits the second set of the first night of decoy's two day residency with special guest joe mcphee.

performed by:
alexander hawkins (hammond b3)
john edwards (double bass)
steve noble (drums)
joe mcphee (pocket trumpet, alto sax).

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 $25.51

new to stock as of
september 9th, 2014


threads:
psych-prog
guitar-themed
free-improvisation

out-sider (spain) #osr 026 lp

oubas/t” long playing record

  • premiere partie

  • deuxieme partie
... grey-area spanish pressing of this mythical québécois head-scratcher, wherein a quartet of young, hungry capsule-intakers set up in a studio, played whatever while chanting the word “oubaad infinitum ... hell, the second side is practically one long drum solo w/ mouth-noises ...
out-sider press release ::
ouba
ouba
out- sider / lp
section: usa / canada > 60's / 70's
cat. no. : osr026

canadian rarity from 1968, recorded under the influence of hallucinogenic substances by a bunch on underground musicians: michel pagliaro, tony roman, denis lepage and andy shorter. the album consists of just one long freak- out jam divided in two sides: raw basement sound, acid guitar, stoned vocals, keyboards and loud drums, similar to early soft machine, pink floyd at their most free- form phase or can.

newly remastered sound, insert with photos and liner notes.

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 $15.51

new to stock as of
september 9th, 2014


threads:
1980s-electronic
analogue-synth
experimental-instruments
live-electronic
machine-music

 best of 2014 !!! 
sub rosa (belgium) #sr 374 lp

salvatore martiranothe salmar construction” long playing record

  • the salmar • part one

  • the salmar • part two
... completely welcome gust of home-brew massive modular synthesizer blat c/o “l’s ga” composer salvatore martirano’s “salmar construction” ::



... as performed at ircam in the early 80’s (i.e. after sal had been performing with it & embellishing the layout / systems for a good decade.5) ; highly recommended !!!
sub rosa press release ::
salvatore martirano
the salmar construction
srv374 vinyl lp

the salmar construction is an amazing large music synthesis engine conceived and constructed in the early 1970's by a composer for use by a composer. these unreleased recordings were made at ircam in paris in 1983. it illustrates the power that an electronic composition can achieve when the composer arrives at a true synergy with his synthesizer.

this lp represents a significant performance by salvatore martirano (1927-1995) on his unique instrument, the salmar construction. under development from the late 1960s, the salmar is believed to be the first interactive 'composing machine' with digital logic circuits at its heart. the performance took place in the spring of 1983 at the institut de recherche et coordination acoustique/musique (ircam) in paris. it illustrates the power that an electronic composition can achieve when the composer arrives at a true synergy with his synthesizer.when you listen to this recorded performance of sal martirano playing his 'construction,' you experience such mastery. the instrument under his command does his bidding, and what you hear are compositions, not jams.

salvatore martirano (b. new york, 1927; d. 1995). in 1963, martirano joined the theory and composition department at the university of illinois, where he remained on the faculty until his retirement and death in 1995. many of martirano's early works incorporate twelve-tone compositional techniques as well as jazz, vernacular, and multimedia idioms. his best-known composition, 'l's ga' (lincoln's gettysburg address), was widely performed in the late 1960s and early 1970s and became associated with the anti-war movement. in 1969, salvatore martirano along with a group of engineers and musicians at the university of illinois began work on the design and construction of a musical electronic instrument: the salmar construction.

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 $13.44

new to stock as of
september 3rd, 2014


threads:
digital-musics
electro-acoustic-composition
machine-music
live-electronic
minimalism-drones
musique-concrète
beat-research

yatra arts (canada) #yaar 03 cd

höfnin hjólmar • islensk raftónlist” compact disc

  • gjöll - the harbour v2 (5:24)
  • björk viggósdóttir - reverse (5:16)
  • reptilicus - it’s lovely to be appreciated (4:14)
  • auxpan - trade intensity (5:36)
  • jóhann eiríksson - nnerclock (5:30)
  • inside bilderberg - administrating i (4:23)
  • amfj - hafnarballett (4:08)
  • stereo hypnosis - fjörgyn (5:54)
  • jónas sen - mephisto (4:54)
  • sigtryggur berg sigmarsson - undiscovered modern classics (4:38)
  • reptilicus w/ auxpan - live at 12 tónar [8 december 2011 excerpt] (4:56)
  • óranna björnsdóttir - rachmaninoff and i (6:05)
  • orkell atlason - raven (3:42)
  • rúnar magnússon - let it be (5:48)
august 2014 release ; ... partially borrowing its title from the 1985 lárus halldór grímson / thorsteinn hauksson lp of the same name (perhaps famously reproduced by mr. p.c. c.p.) this collection of contemporary electronic & experimental music - assembled by praveer baijal & issued on his yatra arts label - introduces a number of names to a global audience with which i was prior unfamiliar, along with the cream of the reykjavík scene ...
yatra arts press release ::
various artists
höfnin hljómar - electronic music from iceland
yaar003

canadian label yatra arts is pleased to announce the arrival of its third release: höfnin hljómar, a compilation of electronic & experimental music from iceland.

the album was initially released only in iceland, where it met with enthusiastic reception, but is now available worldwide. höfnin hljómar takes a comprehensive look at the unique and engaging crucible of icelandic electronic music, with attention given to the refreshing diversity of the scene and featuring works of established artists alongside those of relative newcomers.

required listening for fans of cutting edge electronics of all sorts.

gjöll is the work of jóhann eiríksson [also a member of reptilicus] and writer/ vocalist sigur ur har arson [member of the grindcore band forgar ur helvítis]. their work together over the last decade has produced three albums of heavy electronics & dark ambience on the pre-eminent german label ant-zen, as well as a handful of other releases.

björk viggósdóttir has been a video artist since her graduation from the art academy of iceland in 2006. she produces work that creates a sensual tableau for her audience, using sounds and images to trigger emotional responses. she has collaborated with composers, musicians and dancers and has exhibited her work in her home country and across europe, the united states and asia.

reptilicus, the duo of jóhann eiríksson and gu mundur ingi markússon, has been stalking the fringes of the icelandic music scene since 1988 and are counted among the country’s pioneers of electronic, industrial and experimental music. reptilicus have produced releases that fuse a variety of musical elements in an electronic crucible. most recently, their work has focused on a more purely electronic sound, removed from what they had done before, but still uniquely reptilicus.

auxpan, or elvar már kjartansson, has been recording for over fifteen years. known for his original mesh of rhythm, found sound and words, his approach stems from a boundless curiosity about the possibilities of sound. part master composer, part tinkering sorcerer’s apprentice, his results are always fascinating.

jóhann eiríksson has been active in the icelandic music scene for decades. he is a full time member of the seminal groups reptilicus and gjöll and has also released solo music projects under his own name (or variantions thereof) and as product 8. as well as being an influential musician, he has worked with a diverse group of artists as a producer. his music combines the post-industrial dissonance he helped pioneer in iceland with his producer’s perspective to create a multi-layered, dub-saturated atmosphere.

inside bilderberg is one of georg pétur sveinbjörnsson s myriad of musical projects. he describes himself as a latecomer to music-making and did not start to play instruments or compose tracks until he was in his early forties. since then, however, he has performed in venues and clubs around reykjavík, bringing his strange mix of atmospheric ambient and tribal/industrial beats, typically with dark political themes.

amfj is the alias of a alsteinn jörundsson, an alumnus of a handful of metal and experimental projects. in the summer of 2008, jörundsson was struck with the idea of pairing his poetry with a backdrop of experimental noise and amfj was born. in the years since, he has established himself as a sedulous live performer.

stereo hypnosis is the father and son duo of óskar & pan thorarensen who have been combining their musical skills since 2007 to create the chilliest of ambient dub sounds and melodic electronic excursions. óskar was part of the legendary 80’s art brut collective inferno 5 and pan, a staple in the reykjavík downtempo dj network. together they helped found iceland’s extreme chill festival and have been active in promoting the country’s electronic music scene.

jónas sen is a sort of renaissance man. he has toured as the keyboardist for björk’s band, hosted numerous television programs for the icelandic national broadcasting service [rúv] and made a name for himself as a music critic, composer and pianist. his talents have made him a much sought-after commodity both as musician and cultural observer.

sigtryggur berg sigmarsson has been steeped in the world of experimental music from a young age. a graduate of university sound art and sonology programs, he is a longtime member of the experimental art-punk group stilluppsteypa and has also been a prolific solo artist, with releases on various labels and numerous solo live performances, film credits and art exhibitions.

óranna björnsdóttir’s passion for music developed early. she graduated as a classical pianist and immediately turned to the field of contemporary sound and art. a graduate of the royal conservatoire and the royal academy of art in den haag, she has worked as a video and performance artist in the electroacoustic field, sharing the results of her own subconscious relationship to sounds she hears every day.

orkell atlason studied composition and electronic music at the reykjavík college and rotterdam conservatory from 1994-2001. he has released three albums with gu jón rúdolf, performed and recorded with stereo hypnosis and beatmakin troopa among others, and is a member of the composers collective s.l.á.t.u.r. his work has been performed by various ensembles in europe and america.

rúnar magnússon is a bit of an enigma. his minimalist compositions seem on the one hand dark and possibly disturbing, but are tinted with hints of his sly humour. magnússon has toured the globe under various guises and is also the co-founder of hljó aklettar, a boutique record label dedicated to releasing rare and collectible music and organizing artistic events.

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 $11.76

new to stock as of
september 3rd, 2014


threads:
electro-acoustic-composition
digital-musics
beat-research

yatra arts (canada) #yaar 02 cs

amfj / auxpansplit” cassette

  • amfj - sök (7:12)
  • amfj - dómur (5:13)

  • auxpan - long spline miter joint 1 (4:52)
  • auxpan - long spline miter joint 2 (9:27)
yatra arts press release ::
limited to 201 copies. officially released at iceland airwaves festival reykjavík, iceland 30 october 2013.

amfj
whether fast and furious, or calm and pensive, all amfj shows have intensity in common. ranging from 25-40 minutes in length, they are filled with mesmerizing feedback loops, mixed with loud, beat oriented playbacks, and feature heavily sound-altered vocals presented with a powerful and often theatrical performance, leaving no one untouched.

auxpan
auxpan (aka elvar már kjartansson) has been working with experimental electronic music since before the turn of the century. he has participated in numerous projects and events often stretching the limit of a music performance by utilizing unorthodox methods and equipment often tailored to the occasion.

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 $25.01

new to stock as of
september 2nd, 2014


threads:
electro-acoustic-composition
guitar-themed
harsh-noise
modern-composition
minimalism-drones

karlrecords (germany) #kr 016 lp

lou reed / zeitkratzermetal machine music” double long playing record set

  • metal machine music (1)

  • metal machine music (2)

  • metal machine music (3)

  • metal machine music (4)
karlrecords press release ::
about 10 years after their first, critically acclaimed performances of lou reed’s adventurous album, zeitkratzer presents an audacious new interpretation of this 20th century avant-garde classic. here, for the first time ever, all four parts of metal machine music played by zeitkratzer on one recording! seriously "clangorous"!

this new version of metal machine music is even more transparent, instrumentally pure and radical than the shortened 2007 release; live recordings from concerts in rome and reggio emilia, italy, mixed and mastered by rashad becker. a real sound experience!

after their first performances in 2002 (documented on the 2007 cd release on asphodel) zeitkratzer gave reed’s album a new thorough listen and transcribed the sounds to create an acoustic score for the ensemble to play live. those familiar with the oft-criticized two-disc album might wonder how they pulled this off, but they did and their interpretation of the work brought it to the attention of a wider audience. it is therefore partly thanks to the zeitkratzer version that lou reed’s metal machine music has been rediscovered as a classic of the twentieth century. it was at the live performance with zeitkratzer in berlin, that lou reed spoke for the first time in public about the musical details of his composition, in an interview with diedrich diedrichsen.

zeitkratzer was clearly ready for the challenges of performing metal machine music live, and drew packed houses for their presentation of the work. this confirmed their assertion that rock’n’roll as serious contemporary music has been ignored for too long, in too arrogant a way. the relentless sound forces the mind to put aside its preconceptions about what music is supposed to sound like, or feel like, or look like. the brain starts to implode, or explode, or dissolve zen-like into the controlled chaos of the performance, discovering a strange exhilaration, accepting an invitation to explore the outer reaches of texture and timbre, to experience a sonic freedom that’s rare in any art form.

metal machine music has become even more intense and worked out during the ten years of zeitkratzer playing it live at numerous international festivalscontemporary music festivals, noise festivals, improvisation festivals, - it’s impossible to limit this music to one genre. metal machine music has gained a new quality of clarity, sound transparence and musical intensity. real radical contemporary chamber noise music! these recordings from the festival romaeuropa in rome and the festival aperto in reggio emilia (2012) present zeitkratzer not only at their very best, the splendid mix by rashad becker also reveals new aspects of this 20th century avant-garde classic!

zeitkratzer directed by reinhold friedl

frank gratkowski, clarinets
matt david, trumpet
hilary jeffery, trombone
reinhold friedl, piano
marc weiser, guitar
maurice de martin, percussion
burkhard schlothauer, violin
anton lukoszevieze, cello
uli phillipp, doublebass

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 $14.51

new to stock as of
september 2nd, 2014


threads:
modern-composition
minimalism-drones

touch (uk) #tone 45.7 lp

achim mohnéaccelerated standstill” long playing record

  • l'inertie polaire

  • rasender stillstand
touch press release ::
tone 45.7 | achim mohne "accelerated standstill"
vinyl lp + download - 3 tracks - 39:06

cut by jason at transition

this release is dedicated to paul virilio

an assembling for locked grooves. collected and performed since 1997, recorded live in 2013 as part of touch presents…” at café oto, london; ausland, berlin; the academy of media arts, cologne, and the centre for arts and media (zkm), karlsruhe. this record can be played at all speeds, but the recommended speed is 33 rpm.

accelerated standstill is an assembling of locked grooves found on customary vinyl records. the records have been collected and performed live between 1997 and 2013. locked grooves normally functioning as a ‘barrier’, avoiding the needle coming into contact with the label at the centre of the record. all grooves sound different, depending on how dust has effected and transformed the soft surface of the vinyl.

by using a triple vinyl deck set-up this (analytic auditory observations of) ending grooves are mixed live thus composing a “music that lies hidden in the medium itself". the tiny dust particles inside the vinyl groove convert into a sound sculpture’ - an important syntactical parameter (of the apparatus) is formed by the turntables themselves. the speed of their rotation is not limited to 33 or 45 rpm, but expanded between 1 and 150 rounds per minute thus determining the loops and the rhythm.

achim mohné started working with record players, cassette recorders and other sound-media-apparatus in the mid 1990s. he experiments with the space and time intervals of sound-media and is especially interested in the "music that lies hidden in the medium itself". his method is to subject the support material to a forensic autopsy. his most recent project analyses the transfer data of a wi-fi router called fritz box/fritz kiste (cf touchradio). his further work features sound tracks for film and theatre performances (with yoshie shibahara) as well as collaboration with classical musicians (such as violinist ayumi paul).

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 $15.51

new to stock as of
september 2nd, 2014


threads:
modern-composition
minimalism-drones

touch (uk) #to:96 lp

hildur gudnadottirsaman” long playing record

  • strokur
  • frá
  • birting
  • heyr himnasmi ur
  • bær

  • heima
  • í hring
  • rennur upp
  • til baka
  • lí ur
  • oka
touch press release ::
to:96v | hildur gudnadottir "saman"
lp - 11 tracks - 39:06

cut by jason at transitionartwork and photography by jon wozencroft

this album is about resonance: on "saman", which means "together", hildur melts her voice with her cello, connecting the two instruments together. the result is a highly involving and moving album, recorded, mixed and mastered in berlin. hildur’s sylph-like vocals contrast beautifully with rich cello tones, resolving the tension between light and dark to produce a unique listening experience.

renowned bassist skúli sverrisson guests on “heima”.

this is hildur’s 4th album for touch, after “without sinking”, “mount a” and "leyf u ljósinu”.
all tracks composed, performed and recorded by hildur gu nadóttir in berlin, except heyr himnasmi ur (track 4), composed by orkell sigurbjörnsson, lyrics by kolbeinn tumason.

track 6, bass by skúli sverrisson
tracks 1, 4 and 6 recorded by francesco donadello
all tracks mixed by francesco donadello and hildur gu nadóttir at vox-ton studio, berlin.

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new to stock as of
august 27th, 2014


threads:
analogue-synth
art-punk
1970s-electronic

 best of 2014 !!! 
feeding tube (usa) #ftr 158 lp

jack rubyvolume 2” long playing record

  • destroy/lost
  • beryllium blues
  • parietal cha cha
  • lithium serenade
  • hydrogen lullaby
  • palaatine march

  • sphenoid waltz
  • sodium nocturne
  • temporal tango
  • mandible mambo
  • ghost note
... second volume in this ongoing series documenting the obscure serge-modular wielding art-punk force, including a long electronic-improv jam & a bunch of shorter electro-acoustic pieces that remind (heavily) of the sablosky / jonesno imagination lp ...
feeding tube press release ::
jack ruby - jack ruby (volume two)
edition of 600

when don fleming was doing the initial transfers of the tapes we’d gotten retrieved from randy cohen’s barn, every evening seemed to bring a new surprise. but nothing was a bigger jawdropper than the material which makes up the second lp of our jack ruby archival series.

the central core of the album is the sixteen-and-a-half minute track, destroy/lost”, recorded at the band’s rehearsal space in january74. robin hall vocalizes and boris plays electric viola, but the bulk of the piece is screaming analog synth weirdness from randy cohen’s serge synthesizer. according to robin, the track was recorded in hopes that it might be pared down to a single. hard to imagine how the hell it might’ve been done (or in what universe), but it is a masterpiece of long-format insanity — with boris and robin providing a context for the massive gallumping of the serge.

additional players appear on some of the shorter tracks — new music/free jazz saxophonist, pete van riper, on “lithium serenade”; boris’s electric viola on “hydrogen lullaby”; chris gray’s guitar on “mandible mambo”; rich gold’s serge joins boris’s strings on “ghost note”. the rest is the product of randy’s whacked-out compositional notions and his mastery of the serge’s patch-cords. some of the material was recorded pre-jack ruby at cal arts (where randy and boris first met). the rest was from a performance in new york in early74.

heard as a whole, it is a bizarrely shaped piece of the pre-punk/free-form puzzle that was jack ruby. buckle up. it’s going to be a bumpy ride.

- byron coley, 2014

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 $23.01

new to stock as of
august 27th, 2014


threads:
modern-composition
minimalism-drones

m=minimal (germany) #minimal 022 cd

ernstalbrecht stieblermit der zeit” compact disc

  • ernstalbrecht stiebler - im atem (11:02)
  • agnieska dziubak - schwebend (11:53)
  • ernstalbrecht stiebler - quart solo (7:12)
  • ernstalbrecht stiebler / werner dafeldecker - mit der zeit (24:11)
m=minimal press release ::
as german minimalist composer ernstalbrecht stiebler celebrates his 80th birthday in 2014, the m=minimal label honors the work of this master of reduction with its third release dedicated exclusively to his work.

in contrast to other modern composers that use avant-garde special effects, stiebler builds his compositions around small sound spaces. stiebler's compositional works are characterized by minimalist reduction, emphasizing individual sounds that open up and engage with each other. as the composer himself said in an interview, his music is not intended to be easy. he demands a certain concentration of his listeners. once you accept it, you get rewarded with shifted time perception. a piece lasting 15 minutes in duration can be perceived as 45 minutes.

during his early studies of composition and piano in 1959 and 1960, stiebler received suggestions from karlheinz stockhausen. throughout his career, he's worked as an editor for numerous contemporary music publications. he has composed works for ensemble modern and supervised recordings by morton feldman, john cage, alvin lucier, giacinto scelsi, earle brown and christian wolff. german broadcaster hessischer rundfunk commissioned him to compose an orchestral work. as his music has gained more attention in recent years, his works have been performed at many festivals, including ctm, maerzmusik and mutek, and a three day festival was organized in berlin for his 80th birthday.

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 $23.51

new to stock as of
august 27th, 2014


threads:
free-improvisation
concert-recordings
experimental-instruments
electro-acoustic-improvisation

otoroku (uk) #roku 011 lp

daichi yoshikawa / paul abbott / seymour wrightgjerhan” long playing record

  • gjerhan (1)

  • gjerhan (2)
otoroku press release ::
lll (pronounced /el/) is daichi yoshikawa, paul abbott and seymour wright. this recording includes two bare twentyminute excerpts from separate performances at cafe oto.

daichi yoshikawa / feedback paul abbott / drums seymour wright / alto saxophone

gj rhan, (!) from subterranea, sweat, haze and dedication emerging out of intimate and intense weekly meetings begun in 2009 – their first, 2012 public performance, squeezed into a london basement was a sheer, vexed and exhilarating smack of organic, heterodyning ideas, and taut, lowbeating lumps. reemerge/revanish. with the economy of familiar/traditional raw tools feedback, drumkit, altosaxophone, time, space and emotion lll move from molten musical pasts to grow future pleasures in sound. the ingredients are familiar, but the listening is not. at its heart is a still, undecorated concentration fuelling an extreme testing of limbs, language and order. this has no concern with collapsing difference into a vogueish flattened mass froth, but searches – forensically, ceaselessly – for something to chew, in the challenge of discretion and integrity or asylum in the body of its instruments. akilsakilan learning, doughnut. finding, twisting and hammering out an expanding musical universe balanced only by its own logics – lll have few obvious comparisons. their performances are consistent radical negotiations of the emotional, physical and social energies of the environments they sound out. perfectly reasonable. [the second side was recorded at a summer fundraiser concert for project fukushima (this followed a solo performance by evan parker who later joined the group for a quartet) and the first as part of the inaugural intersect festival four months later.]


recorded at cafe oto on 28 august 2013 (fukshima) by stuart bannister and 7 december 2013 (intersect) by kate arnold. mixed by paul abbott. mastered by andreas [lupo] lubich at calyx, berlin. design by paul abbott. inner sleeve by paul abbott, cara tolmie and conal mcstravick

limited edition of 500 lps. 180g vinyl. 5 colour (!!!) printed inner and outer sleeves.

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threads:
analogue-synth
modern-psych
minimalism-drones
machine-music
live-electronic
digital-musics
electro-acoustic-composition

 best of 2014 !!! 
root strata (germany) #rs-94 lp

le révélateurextreme events” long playing record

  • stream terminal
  • loading vistas
  • fiber miles away
  • followers

  • machine ecology
  • afterimage selves
  • vues illimitées
september 2014 release ; ... the second album from roger tellier-craig & sabrina ratté’s multi-media project le révélateur hinges on their shared love of 70’s / 80’s sci-fi & synth nostalgia while keeping a foot firmly planted in contemporary technology / methodology, making this less of an exercise in historical recreation & more of an exploration of just how much deeper you can get into this whole tonal universe given the tools that have cropped up in the intervening decades ...

... no one else is making this music with this exact level of meticulousness & attention to detail ; highly recommended !!!
root strata press release ::
artist: le révélateur
title: extreme events
catalog #: rs94
label: root strata
format: vinyl (300 black)

release date: worldwide august 22, 2014
usa september 2, 2014
genre: electronic, sci-fi, computer music

five years after founding le révélateur, montreal-bred musician roger tellier-craig returns to root strata with extreme events, a collection of dense sonic studies that betray a futuristic and timeless beauty. alongside collaborator sabrina ratté, who creates the project’s videos and live visuals, le révélateur operates at the ideological intersection of audio and visual, analog and digital, nostalgic and anticipatory, human and machine. extreme events is characterized by complex rhythmic asymmetry and twinkling aesthetic resonance – ultimately a prescient re- vision of hypothetical cyberpunk futures realized in the desert of digital decay and burgeoning artificial ecologies.

cut and mastered by helmut erler at d&m, berlin.

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threads:
printed-matter
free-improvisation
free-jazz

 best of 2014 !!! 
rune grammofon (norway) #r 2160 book

johannes rodfree jazz and improvisation on vinyl 1965-185” book

  • free jazz and improvisation on vinyl 1965-185 (128 pages)
... gorgeous little number, offering (selected) discographies of free jazz & free improv labels, laid out in a style reminiscent of an elementary school textbook, with a few color plates of album covers in the centerfold ...
rune grammofon press release ::
rbk 2160 - j. rød: free jazz and improvisation on vinyl 1965-1985 (book)

born out of necessity and a love of the music and the records, the aim of this book is to offer a guide to a selection of independent labels and their releases of free jazz, improvisation and generally jazz outside of the mainstream between 1965 and 1985, with 1965 being the year when esp-disk' started out as the first independent label dedicated to the music covered in this book, and 1985 being the year that the cd slowly started to take over as the main sound carrier. however, we have stretched the frames a little bit on a few occasions. 60 labels are presented, each with an introduction and a discography, either complete or by the author´s personal choice. there are also 64 sleeve illustrations, including some extremely rare ones, as well as forewords by swedish sax player and composer mats gustafsson and rune grammofon founder rune kristoffersen. finally, there is a conversation between kristoffersen and music writer rob young.

author johannes rød is working freelance as an art historian and conservator and has written several books on visual art. he is also an avid record collector since the late sixties. the book has 128 pages with layout and design is by kim hiorthøy, and it comes in a beautiful hardback geltex cover

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threads:
digital-musics
beat-research
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live-electronic

 best of 2014 !!! 
snd (uk) #snd 3se lp

sndtravelog (special extended edition)” double long playing record set

  • -3,100
  • -1,100
  • 853

  • -1,193
  • untitled
  • untitled

  • untitled
  • untitled
  • untitled

  • untitled
  • untitled
  • untitled
... 2014 deluxe issue of the band’s third single, a&a’ed with an entire bonus ep of contemporaneous material ...
snd press release ::
travelog was the third ep released by mat steel and mark fell as snd, arriving in 1999 just before the release of their influential debut album makesnd cassette on the mille plateaux label. of the three ep reissues in the series, travelog contains the most developed and satisfying work from the pair, edging their reduced production palette into more fully-realized dimensions, coloring-in those instantly-recognizable bass notes and isolated percussive elements with a slow, sublime trickle of melody.

the six extra tracks included are indispensable -- extending the original ep into an hour of mesmerizing, slowly immersive rhythmic pulses that still sound pretty much unlike anything you'll have heard before -- a perfect bridge between house, techno and ukg re-imagined within a stripped structure that should act as a masterclass for a new school of producers trying to balance out rhythmic complexity with space.

the opening a1 encapsulates this asymmetry brilliantly, bare swing and shuffle riding chiming chords that add warmth and space to an already intoxicating blueprint, while a3 takes those same elements and sharpens them into a slow, undulating alignment bolstered by that immaculate mastering treatment from rashad becker.

b3 takes things deeper -- a slow percussive edit slowly drowned-out by a growling analog drone, while the closing side joins the dots between this ep series and that trio of albums for mille plateaux that would soon establish snd as the most forward-thinking and still resolutely original producers from an otherwise largely-forgotten musical era.

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threads:
beat-research
musique-concrète
electro-acoustic-composition
minimalism-drones

the bunker new york (usa) #bk 007 ep

zemi17impressions ep” twelve inch single record

  • impressions

  • rangda
... impressive single of dubbed-out techno by the robotic gamelan inventor aaron taylor kuffner, featuring the familiar sonorities & formal elements from indonesian folk music ...
the bunker new york press release ::
the composer and sculptor aaron taylor kuffner is well-known for co-creating the gamelatron project in 2008, the world's first fully-robotic gamelan orchestra. in 1997, kuffner created another musical project, zemi17. the success of the gamelatron project put zemi17 on indefinite hiatus until the bunker dug out one of kuffer's last surround-sound live sets from unsound new york in 2012 and asked him for a 12" of that material.

the bunker is proud to release these two long and seductive tracks made entirely of sounds of insects, birds, motors and urban noises spliced together with treated samples of gongs and metallophones to create lush techno compositions.

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threads:
digital-musics
beat-research
electro-acoustic-composition
minimalism-drones

pan (germany) #pan 56 ep

lee gamblekuang” twelve inch single record

  • kali wave
  • mimas skank

  • girl drop
... two shorter beat-oriented tracks on the a-side, then a nice side-length ambient dub-hazer on the flip ...
pan press release ::
lee gamble kuang ep (pan 56) 12"
 
lee gamble is a uk-based artist and electronic music producer with roots in the original jungle-techno and extreme computer music fields. in 2012 he released a couple of highly acclaimed records via pan, 'dutch tvashar plumes' and 'diversions 1994-1996', that refracted dancefloor and home-listening dimensions into trippy new head-spaces which touched a raw nerve with ravers young and old(er). he's since expanded those records into live audio-visual performance with fellow cyrk collective founder dave gaskarth and continues monthly broad- casts of his nts radio show.
 
the 'kuang' ep heralds the release of gamble's keenly awaited 2nd lp 'koch' (due september '14) with three tracks of dissociative ambient/techno. 'kali wave' opens with a bittersweet breakbeat roller sounding something like early agcg playing in a hall of mirrors, whereas 'mimas skank' diffuses oily acid and dry dub techno inna dancefloor wormhole, and the detached ambient drift of 'girl drop' rends a gasp of post-rave bliss into twelve minutes of spectral sublime or precipitous dread, depending on your perspective
 
the 12" is mastered and cut by christoph grote-beverborg at d&m. it is pressed on clear vinyl which itself is housed in a silk screened pvc sleeve with artwork by bill kouligas & kathryn politis.

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threads:
digital-musics
experimental-instruments
electro-acoustic-composition
musique-concrète
plunder-phonic
beat-research
machine-music

 best of 2014 !!! 
pan (germany) #pan 55 lp

james hoffblaster” long playing record

  • blaster
  • lasterb
  • asterbl
  • sterbla
  • terblas
  • erblast
  • rblaste

  • scratch
... fantastic conceptual work from primary information’s james hoff, based around the idea of “infectingsource material (conveniently perhaps, “sick beats”) with strains of the computer viruses prevalent in those pre-google outlaw / wild-west days of early internet culture ...

... sound-wise things bearsmore than a passing resemblance to the whole 90’s mego / mille plateaux / tigerbeat6 miasma in terms of processing & source material ; and honestly that’s fine with me ... thoroughly thought-through and extremely well-presented, this continues jameshot-streak of conceptual audio work in a fascinating way ; highly recommended !!!
pan press release ::
james hoff blaster (pan 55) lp

james hoff used the blaster virus to infect 808 beats and then utilized the mutated results as building blocks for seven new compositions.

hoff’s interest in computer viruses lies in their ability to self distribute through (and ultimately disrupt) networks of communication and hoff’s agency as an artist centers on placing these parasitic forms into pre-existing genres, such as dance music. blaster is a timely exploration of the infectious qualities of sound, and how it too, as a carrier, makes it’s way through social networks, reduced to bits and programmed to infiltrate and replicate.

viruses, like art, need a host. preferably a popular one.

interested in ways in which the virus works could mutate and spread socially, the first side of blaster contains these sonic presentations, and the second houses all of the artist’s infected samples and serves as a scratch record for dj’s, an object of utility, and ultimately a provoca- tion, mobilizing its new hosts as a point of potential transmission.

blaster is a logical progression from hoff’s pan debut lp “how wheeling feels when the ground walks away”, which dealt with aural documents of riots and disruptions and the record is part of a larger body of work by the artist that also includes virus paintings.

the lp is mastered and cut by rashad becker at d&m. the artwork was constructed using viral images from the artist and typography by bill kouligas.

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threads:
electro-acoustic-composition
minimalism-drones
field-recordings
musique-concrète
digital-musics

 best of 2014 !!! 
recorded fields (uk) #rfe 001 lp

robert curgenvensirène” long playing record

  • ressuscitant de l'étreinte de la sirène
  • cornubia

  • turner's tempest
  • imperial horizon (for caliban)
june 2014 release ; ... lovely lp of processed location recordings of pipe organs, processed & assembled into massive fields of post-ligeti / penderecki sliding pitch-scale clusters, occasionally coalescing into something tonal ...
recorded fields press release ::
robert curgenven
sirÈne
selected pipe organ works 1983-2014
12 lp  | clear/transparent vinyl
cover printed on 300gsm reverse stock
recorded fields editions  |  rfe_01

release: 27 june 2014

mastered & cut by rashad becker, dubplates & mastering, berlin, april 2014.

16-foot pipe organs recorded in cornwall at the churches of st paul (ludgvan), st winnow (towednack), st uny (lelant), st wyllow (lanteglos), st cyrus & juliette (st veep). unprocessed pipe organ recordings, equalisation only. additional turntables, acetates & dubplates recorded in trewellard, penzance, trewetha & 4 the field

a1: pipe organ section from “and only the dogs and the fires on the horizon” (on “they tore the earth and, like a scar, it swallowed them” - rfe_02, released september 2014). originally composed at trewetha, cornwall, february & worm studio, rotterdam, netherlands (october 2012). expanded and remixed in melbourne, australia (february 2014) and spreewald, germany (march/april 2014) with moments of microtonal dubplates & turntables.

a2: remixed from a 2011 composition and live room recordings by martin clarke of an 8-channel diffusion at the exchange, penzance, cornwall. including live microtonal dubplates & turntables, guitar feedback and fan/ventilator. remixed and expanded in spreewald, germany (march/april 2014)

b1: expanded and remixed for vinyl - the full title of the track as it originally appears on “transfixed” (the tapeworm, ttw#58, 2013) is:

the internal meta-narrative of turner’s tempest as he is tied to the mast in order to create the direct experience of the drama embodied within a “snow storm – [wherein a] steam-boat off a harbour’s mouth making signals in shallow water, and going by the lead. [is rendered by virtue of the claim that] the author was in this storm on the night the ariel left harwich”. this story is but a story, to quote the tate article referenced above – “no ship called ariel is associated with harwich in the 1840s, and turner is not known to have visited the east coast at this time. moreover, a man of any age, let alone in his late fifties, would probably not have survived such an experience. turner most likely chose the name ariel because of its association with shakespeare’s tempest – the implication being that he was a painterly prospero, able to conjure up any kind of weather, real or imagined, at will.” this piece examines not turner’s story of the story behind the painting, which is in itself a story, but aims instead to experience the meta-narrative of turner’s supposed unmediated experience through his embodiment – a conscious body tied to a mast on a boat cast out into a storm.

b2: beethoven’s “eroica”, symphony no.3 in e flat, opus 55, 2nd movement, conductor arturo toscanini with the nbc symphony orchestra (78rpm shellac/acetate - hmv d.b. 5948, year unknown) with pipe organ. mixed at trewetha, august 2013. originally beethoven was to dedicate opus 55 to napoleon, but upon his proclamation as emperor of france this honour was withdrawn and the piece retitled “eroica”. caliban was the original inhabitant of the island to which prospero is banished and he is forced to become the servant of prospero... 

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threads:
digital-musics
sound-art
analogue-synth

 best of 2014 !!! 
future audio graphics (usa) #fag 003 lp

sébastien roux / seth cluett / sol lewittinevitable music #1: variations on sol lewitt’s wall drawing #260” long playing record

  • variation 1
  • variation 2
  • variation 3
  • variation 4
  • variation 5

  • variation 6
  • variation 7
... conceptual sonifications of a sol lewittwall drawing” by séb roux, not too far from marcus schmickler or florian hecker’s recent explorations, albeit framed inside a mechanism heavily reminiscent of jean-claude risset’s “introductory catalogue of computer synthesized sounds, 1969” ...

... comes in a nice chunky gatefold w/ a seth cluett text on the printed inner-sleeve ; highly recommended !!!
future audio graphics press release ::
inevitable music #1: variations on sol lewitts wall drawing #260
sébastien roux, seth cluett
fag 003

gatefold lp with printed inner sleeve, limited to 350 copies
mastered by rashad becker at dubplates & mastering, berlin

inevitable music #1: variations on sol lewitts wall drawing #260, is composer sébastien roux’s sonic translations of sol lewitt’s wall drawing #260, with a commissioned essay from artist and composer, seth cluett and featuring the work of conceptual artist sol lewitt (1928-2007)*.  inevitable music #1 is the first collection in a series of compositions from roux dedicated to the conceptual processes of lewitt’s seminal wall drawings, which lewitt began to produce in the late 1960s.

inevitable music #1 employs a group of discrete digital and analog sounds (sustained/pulsed sine tone, sawtooth wave, voice, etc.) that each correspond to one of 20 shapes used in creating lewitt’s instructional wall drawing. once assigned, these discrete sounds combine to create elegant and rigorous compositions that encourage the listener to reconsider lewitt’s notion that “the idea becomes a machine that makes the art.”[1]  as a further nod to the instructional nature of lewitt’s practice, each variation is preceded by a female voice that announces the particular combination of sounds used to create the composition.

*artwork: sol lewitt, wall drawing #260, on black walls, all two-part combinations of white arcs from corners and sides, and white straight, not-straight, and broken lines. first drawn by sol lewitt, san francisco museum of modern art (detail), 1975. crayon on painted wall, dimensions variable.

© 2014 estate of sol lewitt/ artist rights society (ars), new york. courtesy paula cooper gallery, new york.

[1] lewitt, sol, “paragraphs on conceptual art,” originally published in artforum, june 1967.

beyond the system established to sonify the original lewitt, roux has a fundamentally different engagement with processes. where the result of lewitt’s experiments actively engage the viewer with the geometry of space, roux’s choices create an elaborate engagement with the flow of time. the experience of listening to each permutation, of each construction unfolding, of each immediately following the next, elicits an experience of temporality that seems more elastic than the linear rigidity described by the voice that precedes each variation.

excerpt from the raw flow of material, seth cluett

© future audio graphics, 2014

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threads:
beat-research
machine-music
analogue-synth

diagonal (uk) #diag 011 ep

bronze teetha waif’s rent” twelve inch single record

  • albion pressure

  • cut bronze
  • tephra
... enjoying these slabs of monolothic modular-techno from dominic smith & richard butler ...
diagonal press release ::
london label diagonal continue their swerve into caustic dancefloor territory with the debut pair of 12" releases from bronze teeth. their extended technoid grooves perfectly match the project's name -- they're tough, hard-edged and intricately sculpted for tensile strength and visceral impact.

dominic butler is one-third of factory floor, and richard smith meanwhile, records as l/f/d/m. a waif's rent opens hard with "albion pressure," ushered in by a cloud of distortion and teeming particulate matter. it gathers momentum and fury as it plays, scuttling forward like a column of ants. "cut bronze" and "tephra" hew stark funk from woody drums.

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 $15.01

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threads:
live-electronic
machine-music
electro-acoustic-improvisation
harsh-noise
beat-research
concert-recordings

feeding tube (usa) #ftr 170 lp

bang! bros.12/12/12” twelve inch single record

  • whitehouse boston
  • town hall lawn cambridge
  • starlab somerville
  • steve norton’s medford
  • revere beach revere
  • lynnway mart lot lynn

  • listening room salem
  • chailey mansion newburyport
  • uncharted lowell
  • firehouse worcester
  • later mill pawtucket
  • pr matrix hex providence
feeding tube press release ::
bang! bros. - 12/12/12
12 (45rpm)
edition of 300
co-release with 100% breakfast

mark johnson & adam foam (whitehaus, hunnie bunnies, peace loving) invent a sorely-needed new free jazz instrument: the drum machine. instead of stuffing their mouths with too many horns, they use their faces & fingers to punch on too many electronic buttons like cecil taylor with his fingers in a wall socket. pauses, whirs, percussion avalanches & whizbang punch lines with real punch in them.

documentation of their ridiculous attempt to tour 12 cities in 24 hours on 12-12-2012, using battery powered little amplifiers. i myself went to the show in cambridge, which took place at 9am on the lawn in front of city hall, and was attended by 4 or 5 freezing passersby, a wedding party, a reporter from the local paper, & a policeman who was distracted from looking for traffic violations. both gents have since moved away, to philly & western mass respectively, but the band was damned beautiful while it lasted.

- angela sawyer, weirdo records

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threads:
guitar-themed

feeding tube (usa) #ftr 156 lp

daniel bachmangrey-black-green” long playing record

  • grey (take one)
  • grey (take two)
  • grey (take three)
  • black (take four)

  • black (take five)
  • black (take six)
  • green (take seven)
  • green (take eight)
  • green (take nine)
feeding tube press release ::
daniel bachman - grey-black-green

lp edition of 400

first vinylization of the 2011 cdr release, with which daniel shucked the performing name he’d been using (sacred harp) and laid his naked ass on the line. bachman already sounds like a wizened player here (an image that was solidified when his mug was plastered on the box for tompkins square’s obscure giants of acoustic guitar trading cards), but he was actually still a babe of the fredericksburg woods at the time this came out. regardless, his technique is massive, and his approach to the material — based on a color wheel tuning system developed by the late robbie basho — is intense.

recorded onto a boombox, with a hi-fi quotient of nil, the material here reminds one of what bill orcutt might sound like if he decided to play in longer format time-chunks. there’s a wonderful kind of containment to the musicsuggesting deep investigation and improvisation with hermetic knowledge rather than anything constrictive — which gives this album a sense of spirituality one rarely finds outside the new age bin.

bachman is a master player. and the evidence of this is apparent even at this relatively early stage of his trajectory. through constant touring and woodsheddding, daniel’s music has evolved in multiple directions over the intervening years, but grey-black-green remains one of the true and unique high watermarks of his recordings. how great to have it on vinyl at long last.

- byron coley, 2014

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threads:
live-electronic
machine-music
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harsh-noise
beat-research
concert-recordings

feeding tube (usa) #ftr 153 lp

owen maercksteenage sex therapist” long playing record

  • sleeping with great works of art
  • little black egg
  • heart transplant
  • information
  • 60 cycle hum
  • asleep and awake

  • nancy calls collect
  • !hoh!
  • intense young man
  • hands and eyes
feeding tube press release ::
owen maercks teenage sex therapist lp
with booklet / lyric sheets
edition of 500

owen maercksteenage sex therapist lps is one of the forgotten twisted pop masterpieces of twentieth century.

owen had been in monster island with henry kaiser, who proposed he do a solo album or his songs. henry had moved back west by this time, so owen went out and recorded this album there. henry produced, and added amazing horn parts by jon oswald, larry ochs and john gruntfest. the album was mixed, pressed and distributed exclusively to radio stations, record labels and the like, in hopes of getting owen signed. the music didn’t fit any extant pigeonhole, however, so no deal was in the offing. about the only note of its passing was made by an a&r guy at elektra, who swiped the arrangement (and lyric rearrangement) of “little black egg” (originally by the nightcrawlers) for use by his protegees, the cars. well, fuck them.

teenage sex therapist is ripe with jawdrop moves. flashes of eno, beefheart, lou reed, the bonzos, and various of owen’s other obsessions, fight each other for air time. and everyone goes away a winner. if this one doesn’t make your teeth wiggle, you need a new jaw.

- byron coley, 2014

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