.home..artists..labels..new..restocks..best..faq.
.soon.
... i've begun removing titles from the "closeout" section, thus condemning them to the void ; this will continue (in alphabetical order as they were listed, by catalogue number) until the remaining stock has fully been cast into the basement realm where it will spend its eternity ...

... this is your last chance to pick anything up from our generous closeout campaign before the "ultralite" version of the mms retail site goes live on october 1st, 2014 ; 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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 $25.51

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threads:
psych-prog
library-music
1980s-electronic
minimalism-drones

 best of 2014 !!! 
aguirre (belgium) #zorn 35 lp

joël van droogenbroeckmeditations vol. 2” long playing record

  • contemplation
  • gongs

  • meditative contemplation
  • meditation
... reissue of the fourth colorsound library by brainticket’s joël van droogenbroeck, issued in 1980 by günter greffenius & featuring a cover painting by his wife waltraud ...

... much like volume 1, this continues the path of heavily delay-lined synth & piano drippings, owing a sizable debt to terry riley’s “time-lag accumulator” -era solo improvisations while embellishing things with the fledglingnew ageboiler-plate of addendum :: bells, natural ambiences, etc ...
aguirre press release ::
joel van droogenbroeck - meditations vol. 2 lp

continuous atmospheric sounds for enigmatic landscapes, metaphysical situations and prehistorical periods.
durchgehende klangflächen für rätselhafte landschaften, übersinnliche situationen und graue vorzeit.
atmosphères en continuo pour paysages enigmatiques, situations metaphysiques et periodes prehistoriques.
piani sonori continui per paesaggi enigmatici, situazioni metafisiche e era preistorica.

the story continues.. a few months aguirre released joel vandroogenbroeck’s first solo effort biomechanoid, an outstanding dark electronic ambient album. now we present his two meditations albums. vol. 1 and vol. 2. in these library music albums the emphasis lies on his flute talents, paired with some great moogy electronics and mellow pre-new age ambience. both volumes still stand after all these years and prove joel’s ability to create wonderful library albums. think klaus schulze, harmonia, jd emmanuel and joanna brouk.

though the belgian-born vandroogenbroeck, 74, may not be a household name; in an ideal world, he would be. as the founder, flautist, harpist, sitar player and keyboardist of the seminal acid-fried swiss psych outfit brainticket, he spearheaded the groups three main (and collectible) releases in the early 70s – cottonwood hill, celestial ocean and psychonaut. combining a love of exotic instruments coupled with mind-bending out-of-body excursions, the ever-changing collective developed something of a cult following throughout europe and earned a reputation as one of the heavier psych outfits on the circuit – which was something of a double-edged sword. while their experimental sound resonated with hippies everywhere, it didn’t with the authorities, who associated the act with heavy drug consumption and subsequently began a ban of their music, especially the psychonaut album, if for the title alone. after that bitter brush with censorship, the group quietly disbanded in 1972.

after the dissolution of brainticket, vandroogenbroeck departed for the island of bali with the intent of learning to build and play the gamelan – an ensemble of primarily percussion instruments from indonesia. it would become yet another weapon in his ever growing arsenal of exotic instruments: he was already proficient in the sitar, harp, kalimba, assorted percussion oddities and all woodwinds by this point. vandroogenbroeck became so enraptured with the frenetic sound of the gamelan that he subsequently left the tropics to start up a joged bumbung (a variation on a gamelan) band back in switzerland. while playing small festivals and civic events with this group, joel began to slowly gravitate towards the synth-heavy kraut sounds of artists like tangerine dream and klaus schulze at the same time. and once he began dabbling with oscillators, he never turned back.

after inking a library deal around this time with the nascent coloursound label, who gave him complete creative control, vandroogenbroeck began turning out releases at a rapid rate, often three to five a year, and under a variety of aliases like v.d.b. joel, j.v.d.b, and eric vann. starting with the desolate synth drone of biomechanoid, he continued to expand his sound palette on while on coloursound, moving from early arpeggiators on computer blossoms to percussive sound collage on birth of earth; and from oberheim dmx drum breaks on video games & data movements to apple ii ambient programming on digital project.

° composed by joel vandroogenbroeck
° limited edition of 500 copies
° drawings by nathalie vandroogenbroeck
° pressed at handle with care

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 $25.51

new to stock as of
september 9th, 2014


threads:
psych-prog
library-music
1980s-electronic
minimalism-drones

 best of 2014 !!! 
aguirre (belgium) #zorn 34 lp

joël van droogenbroeckmeditations vol. 1” long playing record

  • group meditation
  • summer clouds

  • sand and wind
  • various reflections
  • a mantra
... after his reissue of joël vdb’s “biomechanoïd” earlier in the year, pieter eykensaguirre continues the colorsound campaign w/ the twomeditationslibraries (skipping the tepidcontemporary pastoral and ethnic sounds” ; cs2) ...

... mashing all of the accordantnew age” & “fourth worldbuttons simultaneously (there’s a fair bit of rain stick - take it or leave it) the finely rendered synthesizer & keyboard-fueled echo-line drones that flesh things out here couldn’t have been done with a greater finesse ; the qualitative & production values - a/b’ed against any number of contemporary sub-basement gazers attempting a similar spec 30 years later - is entirely laudable, esp. given vdb’s apparent absence from the grand pantheon of new-age figurines ...

... excellent mastering & pressing job, cover art wonderfully reproduces waltraud greffenius’ apropos painting(s) ; highly recommended !!!
aguirre press release ::
joel van droogenbroeck - meditations vol. 1 lp

continuous atmospheric sounds for enigmatic landscapes, metaphysical situations and prehistorical periods.
durchgehende klangflächen für rätselhafte landschaften, übersinnliche situationen und graue vorzeit.
atmosphères en continuo pour paysages enigmatiques, situations metaphysiques et periodes prehistoriques.
piani sonori continui per paesaggi enigmatici, situazioni metafisiche e era preistorica.

the story continues.. a few months aguirre released joel vandroogenbroeck’s first solo effort biomechanoid, an outstanding dark electronic ambient album. now we present his two meditations albums. vol. 1 and vol. 2. in these library music albums the emphasis lies on his flute talents, paired with some great moogy electronics and mellow pre-new age ambience. both volumes still stand after all these years and prove joel’s ability to create wonderful library albums. think klaus schulze, harmonia, jd emmanuel and joanna brouk.

though the belgian-born vandroogenbroeck, 74, may not be a household name; in an ideal world, he would be. as the founder, flautist, harpist, sitar player and keyboardist of the seminal acid-fried swiss psych outfit brainticket, he spearheaded the groups three main (and collectible) releases in the early 70s – cottonwood hill, celestial ocean and psychonaut. combining a love of exotic instruments coupled with mind-bending out-of-body excursions, the ever-changing collective developed something of a cult following throughout europe and earned a reputation as one of the heavier psych outfits on the circuit – which was something of a double-edged sword. while their experimental sound resonated with hippies everywhere, it didn’t with the authorities, who associated the act with heavy drug consumption and subsequently began a ban of their music, especially the psychonaut album, if for the title alone. after that bitter brush with censorship, the group quietly disbanded in 1972.

after the dissolution of brainticket, vandroogenbroeck departed for the island of bali with the intent of learning to build and play the gamelan – an ensemble of primarily percussion instruments from indonesia. it would become yet another weapon in his ever growing arsenal of exotic instruments: he was already proficient in the sitar, harp, kalimba, assorted percussion oddities and all woodwinds by this point. vandroogenbroeck became so enraptured with the frenetic sound of the gamelan that he subsequently left the tropics to start up a joged bumbung (a variation on a gamelan) band back in switzerland. while playing small festivals and civic events with this group, joel began to slowly gravitate towards the synth-heavy kraut sounds of artists like tangerine dream and klaus schulze at the same time. and once he began dabbling with oscillators, he never turned back.

after inking a library deal around this time with the nascent coloursound label, who gave him complete creative control, vandroogenbroeck began turning out releases at a rapid rate, often three to five a year, and under a variety of aliases like v.d.b. joel, j.v.d.b, and eric vann. starting with the desolate synth drone of biomechanoid, he continued to expand his sound palette on while on coloursound, moving from early arpeggiators on computer blossoms to percussive sound collage on birth of earth; and from oberheim dmx drum breaks on video games & data movements to apple ii ambient programming on digital project.

° composed by joel vandroogenbroeck
° limited edition of 500 copies
° drawings by nathalie vandroogenbroeck
° pressed at handle with care

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 $20.01

new to stock as of
september 9th, 2014


threads:
machine-music
minimalism-drones
beat-research
analogue-synth

boomkat editions (uk) #bkedit 010 lp

lorenzo sennisuperimpositions” long playing record

  • happic (4:14)
  • elegant, and never tiring (5:46)
  • zeroth-order approximation (2:20)
  • superimpositions (5:42)

  • forever headline (7:43)
  • xxx1 (2:42)
  • pointillistic (3:13)
... further uncanny-valley-esque (in that ... this so closely resembles the very thing that senni has purportedly set out to lampoon / meta-stasize that one wonders what the end-game is) set of “reducedtrance-techno supersaw lines, algorithmically generated in climbing / receding arrays ala last year’s “quantum jelly” ...
boomkat editions press release ::
stunning new album from milanese accelerationist lorenzo senni. mastered by giuseppe ielasi, cut at d&m. edition of 500 individually numbered copies with initial copies pressed on liquid gold wax.

we're more than a bit gassed to pop the cork on lorenzo senni's thrilling, incisive new lp, the 10th release for boomkat editions. the conceptual sibling to his blinding 'quantum jelly' side for editions mego in 2012, 'superimpositions' finds the milan-based multi-disciplinary artist and owner of the brilliant presto!? records accelerating and evolving his idea of "pointillistic trance" - an ascetic, extreme approach to the aesthetics of '90s-style trance/hard-trance - in a broader range of song structures, hyper-lucid moiré patterns, and tantric dancefloor arrangements.

again, he "plays" a computer-controlled jp8000 roland digital-analog modelled s-source synthesiser to juice the most potent, searing saw wave arpeggios and spiralling melodies, finding the biting point between real-time, hands-on, emotive human input, and the sleek tension of synthesis. from the serotonin-flooding rush of opener 'happic' to the beautiful come down of 'pointillistic', the album plays out a sisyphean struggle for deferred gratification, challenging limbic systems and our sense of equilibrioception thru the spine-tingling aerobic coefficients of 'elegant, and never tiring' and the scything, strobing rhythmelody of the title track, to peak with the palpitating surge of 'forever headline' at its white hot core.

it's all more effective than a triple-barelled mitsi in the jacksy, and hasn't been off our turntable all summer...

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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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 $15.96

new to stock as of
september 3rd, 2014


threads:
modern-composition
electro-acoustic-composition
musique-concrète
field-recordings

 best of 2014 !!! 
kye (usa) #kye 31 cd
penultimate press (uk) #pp 10 cd

moniek darge / graham lambkinindian soundies” compact disc

  • moniek darge - tamil nadu (13:18)
  • moniek darge - ladakh (20:09)
  • moniek darge / graham lambkin - indian weather trap (11:16)
  • graham lambkin - therianthropy (8:55)
... collaborative & solo pieces by the logosmoniek darge & kye boss graham lambkin, composed under darge’s “soundiesguideline / premise ; essentially an “augmented reality” take on the traditional musique concrète apparatus wherein the field-events captured by darge are laid out in a pointillist matter by both, resulting in a series of varying parallax views of rural & road-side indian life ... highly recommended !!!
kye press release ::
moniek darge & graham lambkin 'indian soundies' (kye31/pp10) cd

kye and penultimate press are very proud to present a collaborative release from moniek darge (belgium) and graham lambkin (uk).

i have always been interested in sounds in general. when reading and teaching about the futurists, i fully agreed that the sound of engines and machines could be as interesting as the sound produced by musical instruments. but not only industrial sounds fascinate me - i also find the sounds of nature very inspiring.

what i love to do is make soundscapes, and i try to give an impression of a certain space. i am fascinated by a lot of so-called sacred places in the world, in etnic cultures, but also in our own cities. i try to recall the atmosphere of such a place, the quietness, the subtile sounds, or simply what's happening. i started with places in ghent, where i live, and little by little – i have always loved to travel – i began to think - hé, it would be nice to do the same thing at different places on earth. so i started to go to different countries with the purpose of making soundscapes. with our logos duo, ever since 1980, i was already travelling around the world to give concerts, and thus i already collected sounds from all continents.

lately i've been traveling to india and recording the sounds typical in certain regions. you will hear sounds of traffic, of religious ceremonies, of commercial music, mixed with merchant's voices, nature sounds, ...

i asked my friend graham lambkin to join me in the creation of these indian soundscapes. we had previously performed tamil nadu and an early version of indian weather trap together in concert at issue project room, nyc, 2011 alongside our friend françoise vanhecke. i further invited graham to make his own indian soundscape in his own style, using materials gathered online, to bring our cd to a close.

so just sit back quietly and enjoy. let's all travel together on the wings of sound.

- moniek darge

indian soundies arrives in a deluxe full-color 6 panel digipack, in a limited edition of 400 copies.

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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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threads:
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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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september 2nd, 2014


threads:
digital-musics
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machine-music

blackest ever black (uk) #blackest 032 ep

killing sound$ixx harmonie$ version” one-sided twelve inch single record

  • $ixxx harmonie$ version (9:30)
blackest ever black press release ::
killing sound - $ixxx harmonie$ version (blackest032 12")

so much has changed since i last looked at these pages that it's hard to know where to begin...
'six harmonies', the febrile opener from killing sound's recent ep double-pack (blackest028), refashioned as a shapeshifting, shark-eyed junglist wrecker.

nine minutes of pure dread at 180, cut by matt colton at half-speed for maximum dancehall pressure. a one-sided 12" release.

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threads:
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beat-research
machine-music

blackest ever black (uk) #blackest 009 lp

black raindark pool” long playing record

  • dark pool
  • profusion
  • watering hole
  • endourban
  • burst
  • xibalba road metamorph

  • data river
  • night in new chiang saen
  • protoplasm
  • profusion ii (fallofthehouseofagodofbiomechanical)
  • who will save the tiger?
blackest ever black press release ::
black rain - dark pool (blackestlp009 lp)

dark pool is the new studio album from black rain, the project’s first in 18 years.

produced in new york city by stuart argabright, black rain’s founder and figurehead, dark pool is a work of hard-edged sonic fiction rooted in cyberpunk's quintessential neo-noir cityscape/dataspace but projecting into a farther future of biotechnological advancement and alienation.

partly inspired by the writings of philip k. dick protégé k.w. jeter (particularly 1996s edge of human, which picked up where ridley scott’s blade runner left off), and paolo bacigalupi’s 2009 novel the windup girl, a vision of 23rd century thailand plagued by genetic and economic terrorism, dark pool’s humid dystopia is also acutely ballardian in its vision of manmade and natural worlds encroaching upon each other: a vivid psychogeography of half-submerged high-rises and hidden jungle laboratories.

stuart argabright first landed in new york in 1978. by day, he worked as a landscape gardener for the upscale likes of rock hudson and bob dylan, while at night involving himself in all manner of subcultural activity – the reverberations of which are still being felt today. he co-founded seminal no wave minimalists ike yard (whose early 1980s work has been cited as an influence by the likes of kode9, young echo and silent servant), collaborated with the late rammellzee in futurist hip-hop outfit death comet crew (recently reactivated for an lp on powell's diagonal label) and as dominatrix scored a bona fide club hit with the downtown electro classic ‘the dominatrix sleeps tonight’ (1984).

science fiction has captivated argabright’s imagination since an early age – perhaps unsurprising given his father worked at the pentagon developing the earliest incarnation of the internet. a hyperconnector by nature, argabright entered into a correspondence with william gibson in 1984, the year that the author’s epochal cyberpunk novel neuromancer was published, and the two later met in person at biosphere 2, an experimental centre in the arizona desert studying space colonization. when, in 1993, pre-production began on robert longo’s movie adaptation of gibson’s short story, johnny mnemonic, argabright was invited to create an original soundtrack for the movie. argabright’s then current band, black rain, had hitherto dealt in industrial-hued death metal, but for the johnny mnemonic sessions they metamorphosed completely, core members argabright and shinichi shimokawa producing an exhilarating, richly atmospheric score of doom-laden, synthesized drones and hypnotic tribal drumming that perfectly captured the essence of gibson's hardboiled data-crime caper.

in the meantime, what had begun as an arthouse film had spiralled into a bloated $26 million studio production with keanu reeves installed as its lead and only a tangential relationship to the source material; predictably, black rain’s bleakly beautiful soundtrack was jettisoned in favour of a more commercial, all-sony pick’n’mix (god lives underwater, anyone?). the mothballed tracks, along with contemporaneous pieces specially recorded for the first audiobook edition of neuromancer, did eventually find their way into the public sphere - on black rain’s 1995 debut album 1.0 - but it wasn’t until 2011, when blackest ever black reissued them on the compilation now i’m just a number: soundtracks 1994-95, that they received due recognition. an expanded 2xlp and cd edition of this compilation will be released in 2015.

since reviving the black rain project in the wake of now i’m just a number’s release, argabright has toured extensively under the name and last year released an ep of live recordings, protoplasm, on beb. three of the ep’s four tracks appear here on dark pool in radically revised and expanded form: the stuttering ribofunk of ‘endourban’ is now anchored by ominous string pads faintly redolent of argabright’s labelmates raime, while ‘data river’ revisits the accelerated beat-stream of black rain’s 1996 album nanarchy, and the low-slung ‘protoplasm’ has evolved into a sprawling, syncopated techno epic - the sound of red dawn rising on an illegal replicant rave.

a further seven new productions feature. ‘burst’, its title perhaps a nod to sogo ishii’s 1982 biker gang saga burst city, harks back to the scrap-metal-banging brutalism of black rain mk.1; ‘xibalba road metamorph’, the album's angry, anguished centrepiece, externalises the sadness and self-loathing of jeter’s oppressed post-human workforce. ‘night in new chiang saen’ reimagines dub as the viral product of one of agrigen’s morally suspect scientific initiatives in the windup girl, before ‘who will save the tiger?’ calls upon spidery, metalheadz-esque breakbeats and wailing guitar drones to summon a 23rd century ark. vocals (on 'profusion' and 'profusion ii') from zoe zanias (keluar), and a brief spoken intervention from sean young (who of course played rachel in blade runner) are simply the most audible manifestations of a dejected feminine presence that haunts the entire album.

for all its textual references, dark pool is a visceral and straight-talking affair: its bodyhammer rhythms and brooding sound design require no explanation for their impact to be felt. and, after all, to quote one of gibson's most celebrated lines: the street finds its own use for things.

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blackest ever black (uk) #blackest 009 cd

black raindark pool” compact disc

  • dark pool
  • profusion
  • watering hole
  • endourban
  • burst
  • xibalba road metamorph
  • data river
  • night in new chiang saen
  • protoplasm
  • profusion ii (fallofthehouseofagodofbiomechanical)
  • who will save the tiger?
blackest ever black press release ::
black rain - dark pool (blackestlp009 cd)

dark pool is the new studio album from black rain, the project’s first in 18 years.

produced in new york city by stuart argabright, black rain’s founder and figurehead, dark pool is a work of hard-edged sonic fiction rooted in cyberpunk's quintessential neo-noir cityscape/dataspace but projecting into a farther future of biotechnological advancement and alienation.

partly inspired by the writings of philip k. dick protégé k.w. jeter (particularly 1996s edge of human, which picked up where ridley scott’s blade runner left off), and paolo bacigalupi’s 2009 novel the windup girl, a vision of 23rd century thailand plagued by genetic and economic terrorism, dark pool’s humid dystopia is also acutely ballardian in its vision of manmade and natural worlds encroaching upon each other: a vivid psychogeography of half-submerged high-rises and hidden jungle laboratories.

stuart argabright first landed in new york in 1978. by day, he worked as a landscape gardener for the upscale likes of rock hudson and bob dylan, while at night involving himself in all manner of subcultural activity – the reverberations of which are still being felt today. he co-founded seminal no wave minimalists ike yard (whose early 1980s work has been cited as an influence by the likes of kode9, young echo and silent servant), collaborated with the late rammellzee in futurist hip-hop outfit death comet crew (recently reactivated for an lp on powell's diagonal label) and as dominatrix scored a bona fide club hit with the downtown electro classic ‘the dominatrix sleeps tonight’ (1984).

science fiction has captivated argabright’s imagination since an early age – perhaps unsurprising given his father worked at the pentagon developing the earliest incarnation of the internet. a hyperconnector by nature, argabright entered into a correspondence with william gibson in 1984, the year that the author’s epochal cyberpunk novel neuromancer was published, and the two later met in person at biosphere 2, an experimental centre in the arizona desert studying space colonization. when, in 1993, pre-production began on robert longo’s movie adaptation of gibson’s short story, johnny mnemonic, argabright was invited to create an original soundtrack for the movie. argabright’s then current band, black rain, had hitherto dealt in industrial-hued death metal, but for the johnny mnemonic sessions they metamorphosed completely, core members argabright and shinichi shimokawa producing an exhilarating, richly atmospheric score of doom-laden, synthesized drones and hypnotic tribal drumming that perfectly captured the essence of gibson's hardboiled data-crime caper.

in the meantime, what had begun as an arthouse film had spiralled into a bloated $26 million studio production with keanu reeves installed as its lead and only a tangential relationship to the source material; predictably, black rain’s bleakly beautiful soundtrack was jettisoned in favour of a more commercial, all-sony pick’n’mix (god lives underwater, anyone?). the mothballed tracks, along with contemporaneous pieces specially recorded for the first audiobook edition of neuromancer, did eventually find their way into the public sphere - on black rain’s 1995 debut album 1.0 - but it wasn’t until 2011, when blackest ever black reissued them on the compilation now i’m just a number: soundtracks 1994-95, that they received due recognition. an expanded 2xlp and cd edition of this compilation will be released in 2015.

since reviving the black rain project in the wake of now i’m just a number’s release, argabright has toured extensively under the name and last year released an ep of live recordings, protoplasm, on beb. three of the ep’s four tracks appear here on dark pool in radically revised and expanded form: the stuttering ribofunk of ‘endourban’ is now anchored by ominous string pads faintly redolent of argabright’s labelmates raime, while ‘data river’ revisits the accelerated beat-stream of black rain’s 1996 album nanarchy, and the low-slung ‘protoplasm’ has evolved into a sprawling, syncopated techno epic - the sound of red dawn rising on an illegal replicant rave.

a further seven new productions feature. ‘burst’, its title perhaps a nod to sogo ishii’s 1982 biker gang saga burst city, harks back to the scrap-metal-banging brutalism of black rain mk.1; ‘xibalba road metamorph’, the album's angry, anguished centrepiece, externalises the sadness and self-loathing of jeter’s oppressed post-human workforce. ‘night in new chiang saen’ reimagines dub as the viral product of one of agrigen’s morally suspect scientific initiatives in the windup girl, before ‘who will save the tiger?’ calls upon spidery, metalheadz-esque breakbeats and wailing guitar drones to summon a 23rd century ark. vocals (on 'profusion' and 'profusion ii') from zoe zanias (keluar), and a brief spoken intervention from sean young (who of course played rachel in blade runner) are simply the most audible manifestations of a dejected feminine presence that haunts the entire album.

for all its textual references, dark pool is a visceral and straight-talking affair: its bodyhammer rhythms and brooding sound design require no explanation for their impact to be felt. and, after all, to quote one of gibson's most celebrated lines: the street finds its own use for things.

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 $23.51

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threads:
analogue-synth
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machine-music
beat-research

further (uk) #fur 077 lp

scuba deathnitrogen narcosis” long playing record

  • eceptor antagonist (5:48)
  • 50-70 meters (2:22)
  • nociception (8:39)

  • helium tremors (6:40)
  • meters (1:06)
  • rapture of the deep (9:59)
further press release ::
scuba death is ricardo donoso's alter ego. with more of a focus on analog sound, percussion, sampling, and location recordings, there is an organic undercurrent on scuba death recordings that isn't as prevalent in his solo work. this music is rich in atmosphere while still tethered to the deeper ideas that donoso often explores in his work. treatises on fear and death anxiety, the underlining thematic framework for the project, run rampant throughout these claustrophobic electronic passages, and teeter on the edge of being oppressive.

nitrogen narcosis marks the first full length and strongest statement in the scuba death repertoire after the privately issued, ruthless ‘demon seed’ twelve inch back in 2011. the album alternates between surprising lethargic dance inflections all nestled between 75 & 100 bpm, the normal resting heart rate for adults, and the more conceptual, numbness inducing pieces like "50 -70 meters" and "nociception." sequencing plays an integral role on nitrogen narcosis as the listener is suddenly thrust into the darkest reaches of the ocean after dark alley grooves are sucked into an aquatic abyss.

for a project named after donoso's near drowning experience in the south atlantic when he was younger, there's an impressive amount of reflection & vulnerability present – the field recordings that permeate throughout the album were captured at the same location the undertow caught hold of him that bright summer day 20 years prior. an inner battle between paranoia and euphoria is played out in well conceived, precision sonics on nitrogen narcosis as donoso reminds us to look back, break through the surface and go deeper.

ricardo donoso's solo work speaks for itself, but with this new chapter comes new questions and considerations. scuba death is enigmatic to a fault and all the better for it.

recorded at vesica pisces, september -november 2012.

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further (uk) #fur 060 lp

jo johnsonweaving” long playing record

  • ancestral footsteps (5:12)
  • weaving (9:07)
  • words came after music (6:05)

  • in the shadow of the workhouse (9:50)
  • silver threads (10:51)
further press release ::
british musician jo johnson’s debut solo album for further records, weaving, betokens an exciting presence in the world of minimalist composition.

“ancestral footsteps” opens the lp with cascades of cyclical harp-like sounds, an homage to one of johnson’s primary inspirations: alice coltrane. channelling rigorous new age and mesmerizing riley-esque/reichian minimalism, the piece accrues heft and intensity, with occasional bursts of synthetic, tribal clapping until it fades out with cinematic flourish. the title track gradually alters simple guitar and keyboard phrases, along with a chiming motif that multiplies in a hall of mirrors. the disorientating arpeggios form moiré patterns against colossal bass notes. the mood lightens considerably with “words came after music,” whose sweeping strings and drones could take you to whatever your idea of heaven is. interestingly, the title of the piece is inspired by an anthropological theory johnson stumbled across that musical ability predates language in humans. with its sombre, undulating synths and lustrous highs and lows, “in the shadow of the workhouse” plumbs profound emotional depths. epic closer “silver threads” starts as an almost silent retreat in the vein of laurie spiegel's appalachian grove or eno and budd's the pearl with the faint hum and buzz of telegraph wires, until four minutes in a stoic pulse and suspenseful chiming motif arise, buttressed by glowing synth sighs and the lp's only percussive thumps (think incunabula era autechre).

while inspired by the "serious music" of arvo pärt, wim mertens and others, johnson’s mandalas of tone mantras offer a playful, diy sense of adventure, as you might expect from the former guitarist for incendiary punk group huggy bear and a long-term co-organizer of london’s bleep43 techno club night and label. weaving condenses johnson's long love affair with free jazz, minimalism and electronic music and this unique ambient composition is invested with powerful emotional resonance.

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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

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september 2nd, 2014


threads:
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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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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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threads:
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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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hospital productions (uk) #hos 420 lp

lussuriaindustriale illuminato” long playing record

  • boneblack
  • petra marina
  • venus in retrograde
  • breath of cinder

  • daughters of enemies
  • eyes of the world
  • angelshare
  • wind carries soot
  • art of veins
hospital productions press release ::
lussuria - industriale illuminato - lp

one of the most intriguing artists on the hospital productions roster, lussuria came to prominence with the release of three tapes as part of the american babylon’ series in 2012 which were eventually compiled into a double vinyl edition last year. his opiated atmospheres brought together the ritualistic appeal of late 70s and early 80s italian industrial music crossed with the claustrophobia of early material from the cure and the decadent, voyeuristic compulsion of pasolini flicks so enamoured by coil.

having been in the works through late 2013 and in post-production for several months since, industriale illuminato is in some respects the first release by lussuria conceived as a standalone album, and is perhaps his most unique, unsettling body of work to date. inspired by deconstructionism and an overriding sense of anxiety, the album revolves around the dislocated narrative of album opener ‘boneblack’, a dense and evocative fade into shadowy realms inspired by composer giacinto scelsi and the enigmatic mind-tricks of alain resnais’
‘last year at marienbad’.

‘petra marina’ sees lussuria use real drum sounds alongside electronic ones for the first time, layered through with odd, foreboding drones constructed out of handmade japanese music boxes, feedback manipulation and mangled tape loops which together sound like an industrial, shadowy counterpart to the hazy nostalgia of boards of canada.

‘venus in retrograde’ was inspired by and evokes the paranoid narrative of francis ford coppola’
s ‘the conversation, making use of snatches of barely tangible dialogue to form an unnerving backdrop, before ‘breath of cinder’ brings the first half of the album to a close with field recordings made in deepest provincial france overlaid with a detached narrative evoking that cold, abandoned landscape.

the second half of the album takes us further into this airless environment, the intriguing widescreen ambience of ‘eyes of the world’ offset by the percussive rattling and decimated 3 pinch harmonics of ‘angelshare’, while ‘wind carries soot’ recalls the aggression of mika vainio sedated and tamed into an altogether more narcotic kind of beast, before ‘art of veins’ closes the album with a mangled and inverted message - like some kind of satanic directive embedded for posterity.

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 $14.51

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

hospital productions (uk) #hos 420 cd

lussuriaindustriale illuminato” compact disc

  • boneblack (4:14)
  • petra marina (6:26)
  • venus in retrograde (4:57)
  • breath of cinder (6:51)
  • daughters of enemies (2:52)
  • eyes of the world (5:51)
  • angelshare (4:13)
  • wind carries soot (5:27)
  • art of veins (4:03)
hospital productions press release ::
lussuria - industriale illuminato - cd

one of the most intriguing artists on the hospital productions roster, lussuria came to prominence with the release of three tapes as part of the american babylon’ series in 2012 which were eventually compiled into a double vinyl edition last year. his opiated atmospheres brought together the ritualistic appeal of late 70s and early 80s italian industrial music crossed with the claustrophobia of early material from the cure and the decadent, voyeuristic compulsion of pasolini flicks so enamoured by coil.

having been in the works through late 2013 and in post-production for several months since, industriale illuminato is in some respects the first release by lussuria conceived as a standalone album, and is perhaps his most unique, unsettling body of work to date. inspired by deconstructionism and an overriding sense of anxiety, the album revolves around the dislocated narrative of album opener ‘boneblack’, a dense and evocative fade into shadowy realms inspired by composer giacinto scelsi and the enigmatic mind-tricks of alain resnais’
‘last year at marienbad’.

‘petra marina’ sees lussuria use real drum sounds alongside electronic ones for the first time, layered through with odd, foreboding drones constructed out of handmade japanese music boxes, feedback manipulation and mangled tape loops which together sound like an industrial, shadowy counterpart to the hazy nostalgia of boards of canada.

‘venus in retrograde’ was inspired by and evokes the paranoid narrative of francis ford coppola’
s ‘the conversation, making use of snatches of barely tangible dialogue to form an unnerving backdrop, before ‘breath of cinder’ brings the first half of the album to a close with field recordings made in deepest provincial france overlaid with a detached narrative evoking that cold, abandoned landscape.

the second half of the album takes us further into this airless environment, the intriguing widescreen ambience of ‘eyes of the world’ offset by the percussive rattling and decimated 3 pinch harmonics of ‘angelshare’, while ‘wind carries soot’ recalls the aggression of mika vainio sedated and tamed into an altogether more narcotic kind of beast, before ‘art of veins’ closes the album with a mangled and inverted message - like some kind of satanic directive embedded for posterity.

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 $23.01

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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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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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 $17.01

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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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