.home..artists..labels..new..restocks..best..faq.
.soon.
... thanks for everyone's patience during the move !!! while it did take about a week longer than scheduled to get even the most basic elements of mms up & running again (i.e. records back on the shelves [in order !!!] ; packing & shipping bench upright & operational) we can safely say that things are finally getting back to normal around here ...

... we're just about caught up with invoicing & shipping orders placed during our closure & we've started opening up the dozens of boxes of new titles that arrived in our absence, updating the site here to show all of the new arrival & restock activities over the past few weeks (scanner & stereo are still boxed up, so full workups are still pending) ...

... as a token of appreciation to everyone that helped us out by placing a "closeout" order in the days leading up to the move (and due to a number of requests for more time to properly investigate / strategize a more thorough sweep of the dwindling list of titles on offer) i've extended the exhaustive "closeoupacolypse" one final time until the end of the spring ; this should afford everyone the proper resources to make their final selections ...
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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 $18.48

new to stock as of
april 19th, 2014


threads:
electro-acoustic-composition
sound-installation
site-specific
musique-concrète
field-recordings
experimental-instruments
playback-music
modern-composition

 best of 2014 !!! 
rare youth (usa) #ry-33 lp

geoff mullenwind chimes” long playing record

  • wind chimes (1)

  • wind chimes (2)
april 2014 release ; ... immaculate new transmission from geoff, channeling his inner terry fox via two side-length ruminations on “feedback-as-process” via a complex, inter-routed system of transducers & pickups placed around a sounding space, recalling canonic “room tone” works by lucier & lockwood ...

... comes in one of those gorgeous stoughtontip onsleeves, framing a square still of documentation of the processes at work ; clear vinyl in a black inner w/ a two-sided insert ... highly recommended !!!
rare youth press release ::
artist: geoff mullen
title: wind chimes
catalog #: ry-33

limited pressing of 250, on clear vinylwind chimes gathers material from a recent sound installation & performancefollowing up on his last lpfiltered water, mullen continues to use site-specific recordings as a means to explore the sonic characteristics of a given space; yet here the focus is on the idea of feedback-as-process. using field recordings and staged acoustic environments,

wind chimes introduces us to a familiar object - in this case, a pair of mass-produced bamboo wind chimes  - and listens as they undergo a series of sonic and spatial manipulations. the original sounds are copied and altered, and eventually re-amplified in different spaces, until new forms emerge & collide with both real and manufactured fidelities.

the lp version is presented as a series of miniatures, cut in mono, w/ liner notes & links to additional audio for a wide range of home-listening possibilities.

ideal for blending with your own home-electronics, hvac's, and outdoor wildlife. each record is housed in a white tip-on sleeve, w/ color paste-ons & inserts.

excerpt from an installation / performance.

here's one of the channels from a recent installation - this mono track was broadcast via transducer on plexi-glass (viewable in pic, leaning against the white mic stand). there was also a mono channel playing out of a yamaha studio monitor, as well as another piece of plexi that was mobile w/ streaming audio, & portable cassette and mp3 players.

this work functioned as a stand-alone sound installation w/ a 17 minute audio loop, or as an interactive performance wherein the installation became more of a set that was re-arrangeable and mobile, stretching beyond the room itself into the surrounding area.

it was only up for a few days, but ideally it would be added to and changed over time.

a 2nd version was adapted for a performance as part of the risd museum's "locally made" show in providence, ri

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 $9.51

new to stock as of
april 18th, 2014


threads:
minimalism-drones
modern-composition

cassauna (usa) #sauna 18 cs

claudio rocchetti / pietro riparbellithree quarter tone piano pieces” cassette

  • untitled 1
  • untitled 2

  • untitled 3
cassauna press release ::
claudio rocchetti & pietro riparbelli
three quarter tone piano pieces
sauna18 cass

this work was created using short wave radio signals, field recordings, dusty analogue devices, as well as samples from "three quarter tone piano pieces" of the american modernist composer charles ives (1874-1954) as central sound source.

pietro riparbelli is a philosopher, composer and sound-multimedia artist based in livorno (tuscany). he is working in italy with the enrico fornello contemporary art gallery.

riparbelli's performances and installations have been presented at d'amelio terras contemporary art gallery (ny), equinox festival (london),nuit blanche (paris), magazzino d'arte moderna (rome), palazzo delle papesse (siena), flora (florence), fundació tàpies (barcelona), base progetti per l'arte (florence).

he works with performances, sound installations and recorded works and in the last three years he has been collaborating through selected projects with massimo bartolini, nico vascellari, philippe petit, fabrizio modenese palumbo, francisco lopez, christina kubisch, seth cluett, yannick franck and others.

he is a curator/executive producer of the independent music label radical matters - editions label with the new series "metasound" and he his the curator of the project aedo "curatorial and sound practice" to investigate the dimension between music and contemporary art.

the work of claudio rocchetti is a deep plunge into thick sound, investigating its innermost workings. using a variety of devices such as turntables, audio cassettes, samplers, radios, and microphones, often incorporating other objects and traditional instruments, berlin-based rocchetti builds compelling structures that employ sound as sheer matter, mass, and impact. "i have a very direct approach to sound, trying to act on instruments and devices," he says.

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 $9.51

new to stock as of
april 18th, 2014


threads:
modern-composition
minimalism-drones
analogue-synth

cassauna (usa) #sauna 17 cs

sarah davachiaugust harp” cassette

  • st-georges
  • banyan
  • hedgerows

  • doline
  • leicht
cassauna press release ::
sarah davachi
august harp
sauna17 cass

august harp is davachi's second release, and is reflective of her ongoing exploration into the topography of spectrally immersive textures and aural environments. the compositions on this album consider notions of sustenance, shifting harmonic spectra, psychoacoustic derivation of artificial resultant tones, and interior movement within a semblance of stasis. over the past five years, davachi's compositional projects have been primarily concerned with disclosing the antiquated instruments and forgotten sonics of a bygone era in analog synthesis; her work on august harp puts forth offerings from buchla & associates, sequential circuits, and ems (london), subsuming transitions that took place between 1968 and 1981. informed by the lush electronic tapestries of experimentalist-era synthesis pioneers, her music often exudes the sorts of wandering transformations inherent in real-time performance with analog equipment. august harp exploits the innate instabilities of these instruments, constructing layers of texture that seem to pull each other apart as the discrepancies in frequency of the merged sound gradually swell and wane. coupled with acoustic instruments such as cello and organ, davachi seeks to direct the experience of timbral coalescence: mutual acoustic identities are brought together; cocooning the listener into a space that is at once physical, yet invariably out of reach.

as a composer of electronic and electroacoustic music, sarah davachi engages in practices of analog and modular synthesis and psychoacoustic manipulations. her compositions focus on the experience of enveloped sonic dwelling, often utilizing extended durations and drones, gradual transformations in texture, fluctuating and spectrally-rich timbres, and simple harmonic structures that emphasize variations in overtone complexity and natural phasing patterns in order to approach distanced and altered landscapes. davachi holds an mfa in electronic music and recording media from mills college in oakland, california and, since 2007, has worked for the national music centre in calgary as an interpreter and archivist of their collection of acoustic and electronic keyboard instruments. her writings on experimental music and phenomenology have been presented and published within canada, the united states, and the united kingdom, and she has held artist residencies at the banff centre for the arts, steim, worm (rotterdam), and ems (stockholm).

all tracks composed, performed, and recorded by sarah davachi

buchla 100, buchla 200, buchla music easel, ems vcs3, and sequential circuits pro-one synthesizers / cello, flute, harmonium, vocals

november 2012 to november 2013 / vancouver, bc, canada / banff, ab, canada

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 $15.51

new to stock as of
april 18th, 2014


threads:
1970s-electronic
electro-acoustic-composition
analogue-synth
musique-concrète

prisma (norway) #prisma 716 cd

hal clarkelectro-acoustic works • 1974-75” compact disc

  • rouge permanent (9:07) 1975
  • the breath, nerve and pulse of life (8:27) 1974
  • lament (7:05) 1975
  • the monkey and the organ grinder (2:04) 1975
prisma press release ::
hal clarkelectro-acoustic works 1974-75
prismacd716
release date: july 1st 2013

composer, sound designer and curator/researcher harold (hal) clark moved to norway from san francisco in the early 1970s to carry on his musical studies and career. in 1972 he was hired as a producer and tonmeister at the henie onstad kunstsenter at høvikodden, norway. here he co-founded the norwegian studio for electronic music (nsem) together with the late composer arne nordheim (1931-2010).

meeting with young norwegian composers in regular salon-workshops and bringing with him the influences of the renowned san francisco tape music centre (studied with robert erickson), harold commissioned technology artist don buchla to incorporate his series 502 digital-analog hybrid electronic instrument design into the completion of the nsem studio in 1974. it was considered one of the foremost advanced instrument inventions at the time.

henie onstad kunstsenter and harold clark have now collaborated to publish his works from this period as a legacy project. part of harold’s electro-acoustic repertoire is exhibited with the release of this cd, capturing the essence of nsem while revealing some of the composer’s musical character.

harold clark left norway after 10 years and now lives in vancouver, canada, where he is writing a book on the ecology of contemporary music composition and the possible extinction of the modern composer as a socially relevant phenomenon in a world of corporate media.prisma records and hok are proud to present this unknown hidden gem in the history of norwegian and canadian electronic and avant-garde music.

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 $10.08

new to stock as of
april 17th, 2014


counter culture chronicles (netherlands) #ccc 4 cs

timothy learythe radicalization of timothy leary” c90 cassette

counter culture chronicles press release ::
these recordings, released on a c-90 cassette as counter culture chronicles #4, focus on the period following leary’s escape from prison and flight to algeria with the help of the weather underground in 1970.

the cassette contains a 1966 interview of timothy leary at the millbrook estate, a reaction to leary’s escape from prison and exile into algeria by leary’s friend and associate ram dass, a 1971 communique by black panther leader eldridge cleaver in which he distances himself from fellow-exile leary, plus a 1983 interview of leary following the publication of his autobiography ‘flashbacks’.

inserted in the cassette box are a couple of militant quotes by both leary and cleaver from the algeria period. brains on fire and souls on ice.

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 $10.08

new to stock as of
april 17th, 2014


counter culture chronicles (netherlands) #ccc 3 cs

jack kerouacthe northport tapes” cassette

counter culture chronicles press release ::
counter culture chronicles has released on cassette a rare recording of jack kerouac at home in northport, where he lived from 1958 to 1964. we hear kerouac reading from his work while getting drunk and occasionally singing along with frank sinatra records that are being played in the background.

kerouac is clearly having a good time and takes the listener on a lucid deconstructionist trip, in which american popular culture is turned upside down and inside out. the recording covers the full 90 minutes of the cassette and is roughly cut, which adds to the directness and informal atmosphere of the material.

have a seat and get filled to the brim with kerouac’s intoxicated mind. you won’t get up again.

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 $13.44

new to stock as of
april 16th, 2014


threads:
modern-composition
analogue-synth

kranky (usa) #krank 187 lp

christopher bissonnetteessays in idleness” long playing record

  • greenish in its light
  • a deplorable corrupt
  • entanglements
  • delusions
  • missing chapters
  • uniformity is undesireable
  • another moving sight
  • wasting a little time
kranky press release ::
artist:christopher bissonnette
title:essays in idleness
catalog #:krank187
formats available:lp
release date:april 7, 2014

essays in idleness was born from a desire for a more tactile approach to sound generation. with a limited number of sound sources, the process encouraged more focused examination of the available range of choices.

the album is a series of experiments subsequent to a period of deep reflection on my working process. this sequence of tracks is the culmination of two years of intense exploration with the intention of allowing the medium to have a more profound affect on the outcome, the methodology allowing chance, risk and error to play a greater role.

some of the studies focus on a generative process, allowing the composition to build upon itself, while others are constructed from more complex textures and compositional fragments that shift and modulate organically.

- christopher bissonnette

the third album from canadian composer christopher bissonnette sees him expanding his palette by narrowing his sound sources to a self built analog synthesizer. eschewing the whiplash and/or everything including the kitchen sink style of assembly so common among current analog aficionados, bissonnette instead applies his signature compositional style of using long held tones and sweeping drones that alternate between, and fuse, pure tonal transcendence and patient, sparkling melodies that slowly reveal themselves.

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 $12.61

new to stock as of
april 16th, 2014


threads:
modern-composition
analogue-synth

kranky (usa) #krank 187 cd

christopher bissonnetteessays in idleness” compact disc

  • greenish in its light
  • a deplorable corrupt
  • entanglements
  • delusions
  • missing chapters
  • uniformity is undesireable
  • another moving sight
  • wasting a little time
kranky press release ::
artist:christopher bissonnette
title:essays in idleness
catalog #:krank187
formats available: cd
release date:april 7, 2014

essays in idleness was born from a desire for a more tactile approach to sound generation. with a limited number of sound sources, the process encouraged more focused examination of the available range of choices.

the album is a series of experiments subsequent to a period of deep reflection on my working process. this sequence of tracks is the culmination of two years of intense exploration with the intention of allowing the medium to have a more profound affect on the outcome, the methodology allowing chance, risk and error to play a greater role.

some of the studies focus on a generative process, allowing the composition to build upon itself, while others are constructed from more complex textures and compositional fragments that shift and modulate organically.

- christopher bissonnette

the third album from canadian composer christopher bissonnette sees him expanding his palette by narrowing his sound sources to a self built analog synthesizer. eschewing the whiplash and/or everything including the kitchen sink style of assembly so common among current analog aficionados, bissonnette instead applies his signature compositional style of using long held tones and sweeping drones that alternate between, and fuse, pure tonal transcendence and patient, sparkling melodies that slowly reveal themselves.

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 $8.82

new to stock as of
april 16th, 2014


threads:
analogue-synth
digital-musics
machine-music
live-electronic
beat-research

make noise (usa) #mnr 004 ep

keith fullerton whitmanvehement denial b/w platelets” seven inch single record

  • vehement denial

  • platelets
make noise press release ::
mnr004 : keith fullerton whitman

instrument: make noise shared system

statement:

… borrowing a bit from the techniques that pauline oliveros used in her earliest pieces, i started by running the wogglebug at audio-rates, using the smooth & stepped outputs as an fm-source for the dpo running at sub-bass frequencies & patching the clock into the rene running a diatonic sequence. the various wrap-around heterodynings essentially added a third "voice" to the patch & the resultant "tonal" rhythms started resolving themselves in nice ways, reminding me a bit of the sort(s) of experiments with drum-programming i carried out in the mid-90's whilst i was still recording as "hrvatski" … there was enough gain in the input of the phonogene to preamp a small battery-powered microphone, which was getting a real-time feedback loop of the sounds the skiff was creating, plus a little bit of drone-singing & in-situ concrète-sound - both track were recorded in real-time to a pcm recorder, a digital dictaphone, and a cassette walkman …

the shared system series compiles the separate recordings of several artists utilizing the same electronic musical instrument, the shared system. at times it feels as though electronic music has become an overly automated form driven by simplified genre specific apps and software. what happens when the signal path is not pre-defined or optimized for a popular result? the shared system is a modular synthesizer developed by make noise. it has no pre-determined signal path, and is not designed for any particular musical destination. in limiting the artists to this one instrument, we hope the shared system series of records will purely illustrate the intentions of the artists.

high quality master lacquers were made by sae mastering, and shipped to urp for pressing. the result is a high fidelity 7" record. like the shared system instrument, the sleeves for these records are a combination of digital and analog technology. they are designed using computer software and printed using a hand-cranked letterpress called the vandercook 4.

series curated by surachai.

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 $23.01

new to stock as of
april 15th, 2014


arc light editions (uk) #ale 002 lp

ingram marshallfog tropes / gradual requiem” long playing record

  • fog tropes

  • gradual requiem

    part 1 synthesizer, mandolin, voice
    part 2 piano, mandolin, gambuh (flute), voice
    part 3 gambuh, mandolin, piano, voice
    part 4 voice, gambuh
    part 5 synthesizer, mandolin, piano
arc light editions press release ::
ingram marshall // fog tropes/gradual requiem // ale002

the second release from arc light editions is ingram marshall’s fog tropes/gradual requiem, an essential reissue of this piece of modern composition from american composer ingram marshall, using brass, tape delay, serge synth and foghorn field recordingsoriginally released in 1984 on foster reed’s influential new albion label (which also released work by john cage, pauline oliveros, and morton subotnik) it has not, until now, been made available again on vinyl.

taken together, both fog tropes and gradual requiem constitute a kind of huge, sprawling gothic fantasia that slows down the passage of time to something suggesting the rhythm of oceanic tides or the motion of celestial bodies,

says john adams in the sleevenotes.

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 $18.01

new to stock as of
april 15th, 2014


threads:
beat-research
digital-musics
plunder-phonic

faitiche (germany) #faitiche 012 lp

farben / james din a4farben presents james din a4” long playing record

  • kader dolls
  • heimkehr der vulgaren
  • powerbaum
  • lucifer rising
  • rettung

  • please excuse my face
  • krieghelm hundewasser
  • das chinesenschwert
  • fahles graz
  • helfen im sitzen
faitiche press release ::
farben & james din a4farben presents james din a4

faitiche is very pleased to present a new album (faitiche12) and, at the same time, a well-known name: farben presents james din a4.

in the summer of 2013 farben (jan jelinek) remixed his way through the extensive oeuvre of the sample and collage artist james din a4 (dennis busch) – and gathered ten of his favorite titles here.

find out more in the following interview:

jan jelinek: dennis, you’re a musician and an artist who creates audio and visual collages, as well as designing fashion. could it be said that the principle of collage is what underlies all of your activities?
 
dennis busch: yes, that’s the common thread running throughout my output. i shake the kaleidoscope and don’t know what the result will be. if i don’t like it, i keep shaking – until some sensible nonsense appears. for me, it’s important to extract the moment of "transformation”. the intuition of becoming and the crystalline structure in being, the beauty in the beast with its head in the clouds, the great pyramids of giza in its hands - to assemble and fasten all this together, that’s what i’m aiming for.
 
jj: staying with your music for the moment, your tracks meander from position to position, and have the effect of seeming to lack concentration – in a positive sense. what’s interesting is that in nearly every track there is one constant: a straight beat. is this comparable to the white sheet of standard din a4 paper on which the collage snippets are spread out?
 
db: four-four time is a kind of diametrical baton. it creates structure and acts as a kind of hostel warden to keep the pubescent samples in line. this is important in order to conjure up a fitting little dress for the playful bumblebees and weeds that are the samples. in fact, a track may sometimes present itself as slightly unfocused, but only under the fullest concentration and dedication. a track that starts off as a swimwear vendor at the north pole may indeed fade away as a gravedigger at the end of an exploding rainbow.
 
jj: fittingly, your releases on your own esel label have been under a myriad of pseudonyms: james din a4, pastor fitzner, joyride, krieghelm hundewasser, lassie & chris and pop dylan. how does it work with the various identities, do you create the artist name first and then the music to go with it?
 
db: there is something like a typical james din a4 cosmos. anyone familiar with my productions and the various pseudonyms eventually sees through the game. the pseudonym is planned in advance. not in the sense of reinvention, but perhaps more in the sense of a consequential development. there was a time during which i would have a new album ready about every four months – so it was necessary not to release them all as james din a4.
i’m mainly concerned with creating my own universe, a meta-locality, a significant outer space, free of any cartography. because i live with my family in the countryside near wherever, more or less in the suburbs of nowhere. a toast to life behind the moon!

jj: you have also compiled a beautiful illustrated book, „the age of collagecontemporary collage in modern art(die gestalten verlag). the collage artists that you’ve included all work exclusively with physical materials – paper, photos, and magazines. why no purely digital works?
 
db: i am not against the digitalization of visions, however the focus of the age of collage is on manually made collages. there’s a hype around the handmade. this corresponds to the idea of wanting to position oneself – without the help of electronic tools – as the body's own instrument. it's all about "seeing" and "feeling" of apparent contexts and linking paradoxes in the sense of a surreal "self-finding" in the limitlessly playable cosmos, where the artist, equipped with scissors, scalpel and glue, mutates into the body's own astronaut and leaves the past, present and future behind in order to force open a loophole through space and time.
 
jj: which brings us to your own collages. can you say something about how you work?
 
db: with my own collage work i begin with an intention – a feeling that comes over me. i don’t think too much about it but let myself be gently overwhelmed by the pictures. like solving a mathematical equation, i try to redeploy the different positions of the individual fragments and eventually place them in a new order. i want to work with the consciousness of irresponsibility, letting go of something that cannot be released, and holding on to something that flows away like quicksand in the ephemeral hands of time.

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new to stock as of
april 15th, 2014


hospital productions (usa) #hos 405 ep

ron morelliperiscope blues” twelve inch single record

  • alone on the beach (beach mix)
  • director of (accapella)
  • island bore
  • lone navigator
  • periscope blues (version)
  • shredder
  • signal jam
  • slowly losing sight
hospital productions press release ::
ron morelli - periscope blues - 12"

comprised of eight tracks in 30 min, periscope blues is the culmination of a mission gone wrong. music for the stranded, the lost, those backed into a corner with nowhere to go, or maybe a reflection of sad individuals panicking on a tropical vacation gone awry.

somber yet very tense drifting off radar machine electronics that feel like a blistering sun beating down on decaying beach remains as time crawls on. that or the equivalent to working the grill summers at jones beach and stealing from the register just to get a little more...

mastered and cut by matt colton.

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 $18.01

new to stock as of
april 15th, 2014


miasmah (germany) #mia 027 lp

eric thielemanssprang” long playing record

  • sprang
  • sprrrrrrr
  • rocks
  • garden
  • tptptptp
  • afternoon
  • to rising sun
  • kkkkrrrrrr
  • ode to oxley
  • post soldiers’ hymn
  • river
miasmah press release ::
eric thielemans - sprang

lp (400 black vinyl w/download code) + cd (500x carton digipack)

adventurous belgian percussionist eric thielemans makes a fairly unusual entry into the miasmah catalogue with the surprisingly positive sounding album sprang. thielemans has actually appeared on the label earlier - as guest percussionist on kreng´s debut album l´autopsie phenomenal de dieu. although you can recognize the sound on this record, the main focus of sprang is to revert to the pure joy of sound experimentation and letting go of your foothold.

thielemans's previous exercises in expanding singular ideas and rituals in the two genre-bending and theoretical albums, a snare is a bell (ultra eczema, 2008) & earr plays a snare is a bell (sub rosa, 2012), inevitably leads to sprang. embracing the bliss of working freely with his many percussion tools, he creates 11 pieces that are both instinctual and industrial. his impulses evoke a calm yet alive atmosphere where there is always movement. the tones of dripping water, settling dew, and flourishing plants of spring are juxtaposed with unexpected sounds of motion, of factory equipment, and gears turning.

though sprang is a solo percussion album, its detail and depth is something wholly unique. thielemans broadens his theory that there is always more to hear, more depth to interpret, and a way for the listener to add their own elements and create something new. a welcome addition to the miasmah catalogue, whose slogan "music for scenes and places" maybe never have been more spot on.

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 $18.01

new to stock as of
april 15th, 2014


pan (germany) #pan 41 ep

bass clefraven yr own worl” twelve inch single record

  • self-perpetuating fun loop
  • fluorescent city shining city

  • euphoric nihilism
  • adventures unventured, tenderness untendered
pan press release ::
bass clef 'raven yr own worl12"/dl (pan 41)

ralph cumbers' debut bass clef 12" for pan sees the modular maestro stalking the 'floor with typical, technical suss and cheeky uk humour. the 'raven yr own worl' ep is the latest and most sharply focussed in a golden streak of releases which have seen the london-based producer tour some of the bastions of british electronica, from punch drunk to alter and public information, not to mention his own, cultishly adored magic + dreams label.

thru the prism of his favoured bugbrand modular system - handmade by bristol's tom bugs - the four tracks of his 'raven yr own worl' ep patch a lattice of reference ports between radiophonic experimentation, bedroom electronica, classic dub production techniques, and the not-so-distant spirits of halcyon uk rave music. his 'self-perpetuating fun loop' is razor-sharp acid funk in the tradition of luke vibert and the rephlex hordes, and 'fluorescent city shining city' a deftly playful piece of acid dub strut recalling early two lone swordsmen. his bleep techno tribute 'euphoric nihilism' is possibly the most intricate and evocative number, also flashing glimpses of 'ardcore whistles and ebm in its tightly coiled matrix, whilst 'adventures unventured, tenderness untendered' is a blissed steppers' kiss off meeting digi-dub and misty-eyed idm at the warehouse.

the effortless fluidity and charm of these tracks belies the skill, personality and intuitively dextrous approach of bass clef and his affinity with the machine. they're timeless pieces of uk electronica carrying the weight of heritage forward. bass clef is due to tour in his some truths alias with tom bug, promising uniquely alien electronic soundscapes with each performance.

the 12" is mastered and cut by rashad becker at d&m. it is pressed on 140g white vinyl which itself is housed in a silk screened pvc sleeve with artwork by kathryn politis & bill kouligas.

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 $24.01

new to stock as of
april 15th, 2014


threads:
analogue-synth
beat-research
experimental-instruments

public information (uk) #pubinf 013 ep

bass clefbugbranded” twelve inch single record

public information press release ::
long-time wielder of the modular-flame, ralph cumbers has a distinguished cv for the likes of punch drunk and his own magic+dreams imprint. here, across four extended sequences he shines, taking the crystalline drive and coarse groove of the acclaimed reeling skullways lp into hotwired groove zones.

'sometimes the only way out is to go further in' starts the trip. take care dear listener; once you're in track one, you may not want to escape from its grip, its cyclical riffs, its space dust licks, its buttered bass notes. then, the sadness. the mournful minor key shuffle of 'elsewhen' is sheer blue-note blade runner melancholy. then, the euphoria. instant gratification hits you on 'faster than the speed of love' a click-pump-click-pump kick surrounded by jagged sawtones, straight to the chest. through swirling, speed-addled melodies clef then leads us - detroit nights under hackney sodium lights. then, to a breath.

bugbranded arrives at an all too premature end with 'neon black and vulcane' a glistening collage of white noise splash, acidic whispers and head-nod-chug. this is techno how it was dreamed in belleville, re-imagined by a genius with a synth or three. in clef we trust, for all our magic and dreams. limited edition of 500 in debossed house sleeve, individually hand numbered.

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threads:
digital-musics
beat-research
experimental-instruments

room40 (australia) #edrm423 lp

austin buckettgrain loops” long playing record

  • grain loops 1-15

  • grain loops 16-30
room40 press release ::
austin buckett - grain loopsedrm423
lp

rhythm is at the core of who we are.

second to second, day to day, year to year, our lives are a series of spiralling orbits governed by time. time between heartbeats, between breathes, between meals, between visits with family, the list of cyclical activity goes on and on. it’s as though our lives are merely expanding and contracting cycles, loops that extend onward until sharply cut by the edit of mortality.

it’s here, in these ideas of time, motion and joyful repetition that australian composer austin buckett hatched grain loops. inspired in part by an introduction to the german word rauschen from editing the work of his past-mentor, peter ablinger, buckett’s grain loops borrows from techno and hip hop methodologies. the sound pieces offering themselves both as discrete sound experiences and as ‘tools’.

buckett’s first exploration of rauschen was via his controversial new music up late concert, everything always, which focused on broadcasting “white noise works on national radio. ‘rauschen’ suggests white noise but moreover encompasses broader connotations of complex sounds, like that of the sea, wind or a highway heard at distance. these complexities led buckett to a fascination with how texture can be framed and perceived, and also explored in terms of questions of performativity and gesture.

recorded in canada at banff during his residency there, buckett limited his palette to four snare drums and sandpaper. he drilled deeply into these objects, drawing out a profound sense of detail from the skins through a variety of close microphone techniques. the resulting recordings are hyper-real, exaggerated and so utterly detailed as to be confounding. this is an exercise in control, focus and repetition.

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threads:
analogue-synth
modern-composition
sound-poetry
electro-acoustic-composition

shelter press (belgium) #shelter 038 lp

ben vidaslipping control” long playing record

  • slipping control part 01 – 13

  • slipping control part 14 – 21
shelter press press release ::
#038 / « slipping control » by ben vida

21 tracks / 35:37 min / 12 lp / 33 rpm / 2014 / first edition of 500 copies / color cover + printed inner sleeve + double sided insert140gr black vinyl.

all music by ben vida, with tyondai braxton, and sara magenheimermastered and cut by mastered by helmut erler at dubplates & mastering, berlin.

slipping control is ben vida’s new lp.

slipping control derives from the text piece « tztztztzt Î Í Í…. » wrote last year by ben vida (and published as a book by shelter press).

composed to act as a score, a sound piece and as raw data for electronic control source, tztztztzt Î Í Í… became the intrinsic element that tied some different pieces of art made by ben vida and presented at the eponymous show at ava gallery (ny, usa) in april 2013.

i was interested in the rhythm of speaking, interested in using the voice to create rhythmic patterns that would inevitably break out of time and become asymmetrical and awkward. i wanted to create one set of control sources (the text) and run them through a bunch of different systems (the video, the book, the record etc) and see how the original source material morphed and changed as it manifested in these different modalities. the process of developing each unique work involved setting of control paths for the text to be processed though. in terms of this path the first step after writing the text was to find the primary filter of interpretation and translation that would start this process of slipping control – and this is where tyondai and sara come in…

a control path may look something like this:

text > performer/vocalist > voiced recording > electronic analysis > reconfigured
text > audio synthesis > lp record.

or maybe like this:
text > performer/vocalist > video/audio recording > electronic analysis > audio synthesis > video editing > color synthesis > video installation.

or this:
text > performer/vocalist > video/audio recording > electronic analysis > audio synthesis > video editing > color synthesis > video installation > color field panel display.

or more simply:
text > poster

mastered and cut by helmut erler at d+m,pressed at pallas in an edition of 500 copies worldwide.

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threads:
free-improvisation
modern-psych

sub rosa (belgium) #sr 345 lp

jac berrocalmdlv” long playing record

  • aristocrates
  • zwischen shaan und bendern
  • do you want a dance
  • palmyre
  • lonely woman
  • i remember
  • plaisir d'amour
  • priere
  • mdlv
  • aether
  • the eternal
  • metallic bay
  • lietuva hotel
  • ministres en conseil
  • kinderlieder
  • ultim arlene
  • extract of la ralentie
  • sacre
sub rosa press release ::
jac berrocal
mdlv

sr345
lp black vinyl

features
jac berrocal
ron anderson
keith abrams
jack belsen
jean-pierre arnoux
marie mÖÖr
massayoshi urabe
bruno laurent
claude parle
jacques doyen
michel glasko

a real event: jac berrocal has not released disc for 20 years. the legendary french trumpeter is back with its special atmosphere and feeling. lot of guests too.

jacques "jac" berrocal (born 22 october 1946, saint-jean d'angély) is a french trumpeter, singer and composer. he has been active since the 1970s in the independent and avant-garde music scene (he recorded/played with steven stapleton/nurse with wound and collaborated with sunny murray, pascal comelade, mkb (f. j. ossang), james chance, alan shorter, bernard vitet, lol coxhill, michel portal, lizzy mercier descloux).

he has released a few important albums, mainly on his own label d'avantage. he also founded and performed in the group catalogue. berrocal has appeared too in several films.

in 2011, we released an unique collaboration between him, ghedalia tazartès and david fenech (superdisque cd/lp sr321).

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threads:
beat-research
machine-music

the death of rave (uk) #rave 005 lp

delroy edwardsteenage tapes” long playing record

  • untitled (1)
  • untitled (2)
  • untitled (3)
  • untitled (4)

  • untitled (5)
  • untitled (6)
  • untitled (7)
  • untitled (8)
the death of rave press release ::
the death of rave's fifth turn presents a lesser-heard aspect of l.a.-based producer, delroy edwards. while best known for making bangers steeped in raw chicago ghetto house for l.i.e.s and his own l.a. club resource, delroy's teenage tapes lp yields eight tracks built with a similarly stripped-down approach, yet with altogether different results owing more to minimal wave, noise, ebm, and black metal.

half of the release documents reel-to-reel and guitar pedal experiments recorded to tape while delroy was at art college, which he's been saving for the right release. the other half stems from more recent sessions on his sh-101 and drum machine that didn't quite fit in with his pounding dj tools. those nascent, freeform noise pieces range from intense, bilious drones to vicious, combustible little buggers nodding to classic prurient and the haters, whereas the improvised, rhythm-driven cuts bear comparison with liasons dangereuses' ebm blueprints, the motorik momentum of wold, and the obscure early '90s tape experiments of tuning circuits.

committed to worn-out tape in one-take shots over a number of years, it's all testament to the spirit of febrile spontaneity and disciplined dexterity consistent to delroy's art, an aesthetic acutely at odds with so much anodyne dance music and manicured noise. mastered and cut by matt colton.

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threads:
beat-research
machine-music

the death of rave (uk) #rave 003 lp

kareemporto ronco (vinyl edits)” long playing record

  • porto ronco (vinyl version - part one)

  • porto ronco (vinyl version - part two)
the death of rave press release ::
the death of rave is proud to present the first album-length beat-less composition by patrick stottrop aka kareem. since 1996 the now-legendary, berlin-based artist has produced nearly 20 singles and albums for both his zhark recordings and ramadan labels, kanzelramt's k2 0 subprint, and paris' fondation sonore, forging a strong identity split between uncompromising industrial techno and rza-like instrumental hip-hop, all with a blackened streak of gothic finesse. following a hiatus during the late '00s, in 2012 kareem was prompted by the death of a relative and the need to retreat, spiritually and mentally, into writing "porto ronco."

borrowing its title from a village by lake maggiore on the swiss/italian border where his grandfather bought a house in the '60s as refuge from potential war, and "in case the soviets would march into berlin," it manifests marked detachment and evolution from his previous work, abandoning all but traces of rhythm to concentrate and expand upon the downcast atmospheres and brutalist structures which always lurked behind his beat-driven compositions. in doing so, it implies intrinsic psycho-geographic and hauntological resonance between the place and the piece, opening a space for stoic sehnsucht, elegiac reflection in classic tradition. the original piece is an unabridged 45-minute composition, but for this release kareem made a 30-minute vinyl edit split over two sides of an lp.

primed for sequestered solo listens, it captures an elusive berlin spirit which has been lost with successive tides of weekending dunces in the easyjet age; a metaphysical feeling or spectral presence that has long lain brooding in the city since conrad schnitzler's earliest invocations and since percolated everywhere from christina kubisch's radiant electromagnetic recordings to the gothic industrialism of einstürzende neubauten, thru the monotone ecstasy of basic channel and the etheric romance of leyland kirby in his friedrichshain period. ultimately, it's a deeply-personal piece of work bound to capture the imaginations of depleted ravers in the after after-hours. vinyl cut by rashad at dubplates + mastering.

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 $23.52

new to stock as of
april 11th, 2014


future audio graphics (usa) #fag 002 lp

blood wedding / timothy morton / marlo pascuala survey of locked modes” long playing record

future audio graphics press release ::
release date: march 14th, 2014
blood wedding/ timothy morton/marlo pascual
a survey of locked modes lp (fag 002)
future audio graphics
  • format: full-color gatefold lp, limited to 350 copies for export
  • recorded live in paul drescher’s rehearsalspace, west oakland, ca
  • blood wedding includes chuck johnson, whose crows in the basilica (three lobed) appeared on many 2013 year-end lists. johnson has released records on tompkins square, amish and strange attractors audio
  • includes my dead push up the grass, silently turning to dust, an original text by timothy morton
future audio graphics is pleased to announce a survey of locked modes, the debut from san francisco, california’s blood weddinga survey of locked modes is a collaboration between blood wedding, object-oriented ontologist timothy morton, and visual artist marlo pascual.

blood wedding has described these recordings as sonifying what morton defines as the hyperobject, objects and forms so massively distributed in time and space that they transcend categories and localization. for morton, nature is no arbitrary or anthropomorphic signifier and artistic representations of the environment should offer sites for opening ideas about nature to new possibilities. blood wedding’s recording evokes the hyperobject in a number of ways: in its slowly evolving minimalism; its use of just intonation and the harmonic series; and its “locking in” of pure intervals that provide subtle beating and pulses. but the recordings also suggest contrapuntal and phantom sounds that emerge from near misses in the execution of the pure interval and these sounds owe as much to the performance space as to the human ear. similarly, within pascual’s work, objects and images appear to seek potential corollaries in unusual juxtapositions of the organic and the inorganic, the living and the non-living, the two-dimensional and the sculptural. rather than seeing these forms as binaries, however, pascual concretizes what blood wedding amplifies in their sound, the suggestion that there may be another form behind or within the image/noise. for blood wedding, this assumes the form of a distressed shape emerging from over-amplified circuits feeding back, devouring the sound in space, and taking life in the physics of electricity, in resonance, and acoustics that point to another level that’s just on the edge of becoming.

blood wedding is danishta rivero and chuck johnson. rivero is a graduate of mills college music program, and is now a musician and sound artist based in san francisco. she works primarily as a vocalist and also performs on the hydrophonium, a water-based electro- acoustic percussion instrument she created in 2009. johnson is also a graduate of mills college music program, and is now a composer and musician residing in oakland, ca. having toured internationally, johnson’s most recent work investigates american primitive guitar, though his larger compositional interests over the last twenty years reference minimalism, power electronics, and world music. timothy morton is professor and rita shea guffey chair in english at rice university, author of the ecological thought (harvard univ press, 2010) and, most recently, hyperobjects: philosophy and ecology after the end of the world (univ of minnesota press, 2013). marlo pascual has exhibited internationally, most notably at the aspen art museum, the swiss institute, and the international center of photography.

future audio graphics is a project dedicated to supporting collaborations among composers, sound and visual artists and critical, literary and art theorists and historians. previous releases include collaborations between ben vida, visual artist meredyth sparks, and artist and curator anthony elms (fag 001). forthcoming releases include sébastien roux, sol lewitt and artist and writer seth cluett (fag 003).

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new to stock as of
april 11th, 2014


threads:
modern-psych
free-improvisation
guitar-themed
minimalism-drones

important (usa) #imprec 392 cd

steve gunn / mike gangloffmelodies for a savage fix” compact disc

  • first of spring
  • out canning factory road
  • worry past worry
  • topeka am
  • dive for the pearl
important press release ::
steve gunn & mike gangloff
melodies for a savage fix
imprec392 cd

steve gunn and mike gangloff (pelt) combine six-and 12-string guitars with gongs, tanpura, singing bowls, shruti box, and banjo fora gorgeous collection of improvised compositions. the two artists took it pretty far off the beaten path for melodies for a savage fix, sequestering themselves for an overnight session in the remote farmhouse/recording studio of noted roots-music engineer joseph dejarnette (carolina chocolate drops, bruce greene, curtis eller) in the countryside of floyd county, virginia.

there in the tiny community of topeka, miles from the county's one traffic light, they set up an assortment of six- and 12-string guitars, gongs and indian instruments, plus the banjo gangloff sometimes plays at monthly square dances at a country store just up the road, and settled in for an intense night of improvisation.

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threads:
modern-composition
minimalism-drones

important (usa) #imprec 391 lp

duane pitrefeel free: live at cafe oto” long playing record

  • feel free (1)

  • feel free (2)
important press release ::
duane pitre
feel free: live at cafe oto
ipt391 lp

beautiful ensemble performance of duane pitre's feel free including james blackshaw on hammered dulcimer. lp pressed in an audiophile grade edition of 1000 copies.

shortly after the release of pitre's feel free, the composer set out for a 2012 solo tour in select european cities. to start off this tour he staged an ensemble performance of feel free, at london's renowned cafe oto. for his ensemble, pitre chose to utilize only one veteran of a feel free performance (jesse sparhawk) and for the remainder of the group he used english musicians who'd not played the composition prior. the resulting performance sees feel free taking new shapes and producing different energies than the studio recording.

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threads:
modern-composition
minimalism-drones

important (usa) #imprec 390 lp

duane pitrebridges” long playing record

  • bridges: earth/ember/serpent

  • bridges: cup/aether/crane
important press release ::
duane pitre
bridges
imprec390 lp

duane pitre's new album, bridges, features two pieces taken from a suite of analogous compositions by the same name, and was composed by pitre in 2012. the two pieces that comprise the album are meant to work together in sequence as a composite work; or they can be isolated and listened to on their own. the title derives its name from the original concept for this work, which was to bring together aspects of traditional eastern music (such as compositional form and tuning) with western musical traditions (such as in the church music of the middle ages and modern classical music). the result is an album that merges the ancient with the new, while creating a sound that is wholly its own.

cd is housed in a 6 panel digipack on thick board stock with a matte laminate coating & spot-gloss.

duane pitre - compositions, cumbus, ukelin, mandolin, computer, & electronicsoliver barrett - cellobhob rainey - soprano saxophone

written/arranged/recorded/mixed august-november 2012mastered by altered ear

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new to stock as of
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threads:
modern-composition
minimalism-drones

important (usa) #imprec 390 cd

duane pitrebridges” compact disc

  • bridges: earth/ember/serpent
  • bridges: cup/aether/crane
important press release ::
duane pitre
bridges
imprec390 cd

duane pitre's new album, bridges, features two pieces taken from a suite of analogous compositions by the same name, and was composed by pitre in 2012. the two pieces that comprise the album are meant to work together in sequence as a composite work; or they can be isolated and listened to on their own. the title derives its name from the original concept for this work, which was to bring together aspects of traditional eastern music (such as compositional form and tuning) with western musical traditions (such as in the church music of the middle ages and modern classical music). the result is an album that merges the ancient with the new, while creating a sound that is wholly its own.

cd is housed in a 6 panel digipack on thick board stock with a matte laminate coating & spot-gloss.

duane pitre - compositions, cumbus, ukelin, mandolin, computer, & electronicsoliver barrett - cellobhob rainey - soprano saxophone

written/arranged/recorded/mixed august-november 2012mastered by altered ear

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