.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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 $20.01

new to stock as of
april 22nd, 2014


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editions mego (austria) #emego 165 lp

fenneszbécs” long playing record

editions mego press release ::
emego 165 / fennesz
bécs
lp

release date april 28, 2014

all tracks by christian fennesz, except * by cédric stevens & christian fennesz
modular synthesizer on “sav" by cédric stevensbass on “static kings" by werner dafeldeckerdrums on “static kings" by martin brandlmayrdrums on “liminality" by tony buck

recorded & mixed at amann studios, vienna, 2013/14tony buck’
s drums recorded by martin siewert at garnison7, vienna, july 2013mastered and cut by rashad becker at dubplates & mastering, berlin, february 2014

cover design by tina frank

the last time fennesz released an album on austrian label mego it was 2001 and the name of that release was 'endless summer'. now, in 2014 editions mego is extremely proud to release the conceptual follow up that landmark of abstract pop. bécs (pronounced 'baeetch') is hungarian for vienna and is the first full length fennesz solo release since 2008's 'black sea'.

eschewing the more drone orientated works of 'black sea', 'bécs' returns to the more florid pop mechanisms as deployed on endless summer. 'static kings' features the extra leverage of werner dafeldecker and martin brandlmayer who deploy a range of atmospheric abstract effects to shape a bewitching sound world. the 10 minute centrepiece 'liminality' (featuring tony buck on drums) is classic fennesz: epic, evocative, beautiful, impossible. 'pallas athene' creates a sanctuary of hovering beauty which leads into the title track. emotional and assured, the track 'bécs' is an astonishing contribution to contemporary pop. 'sav' co-written by cédric stevens (aka acid kirk) inhabits a less structural terrain as one enters a forest of small sounds and oblique atmospheres, where the closing 'paroles', a gentle melody unravels amongst swirls of electronics and fried disruption. bécs is not just an album or a series of songs, it's a world to inhabit, a landscape ripe with sounds, songs and that esteemed fennesz signature.

a singular work by a singular artist.

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 $15.51

new to stock as of
april 22nd, 2014


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editions mego (austria) #emego 165 cd

fenneszbécs” compact disc

editions mego press release ::
emego 165 / fennesz
bécs
cd

release date april 28, 2014

all tracks by christian fennesz, except * by cédric stevens & christian fennesz
modular synthesizer on “sav" by cédric stevensbass on “static kings" by werner dafeldeckerdrums on “static kings" by martin brandlmayrdrums on “liminality" by tony buck

recorded & mixed at amann studios, vienna, 2013/14tony buck’
s drums recorded by martin siewert at garnison7, vienna, july 2013mastered and cut by rashad becker at dubplates & mastering, berlin, february 2014

cover design by tina frank

the last time fennesz released an album on austrian label mego it was 2001 and the name of that release was 'endless summer'. now, in 2014 editions mego is extremely proud to release the conceptual follow up that landmark of abstract pop. bécs (pronounced 'baeetch') is hungarian for vienna and is the first full length fennesz solo release since 2008's 'black sea'.

eschewing the more drone orientated works of 'black sea', 'bécs' returns to the more florid pop mechanisms as deployed on endless summer. 'static kings' features the extra leverage of werner dafeldecker and martin brandlmayer who deploy a range of atmospheric abstract effects to shape a bewitching sound world. the 10 minute centrepiece 'liminality' (featuring tony buck on drums) is classic fennesz: epic, evocative, beautiful, impossible. 'pallas athene' creates a sanctuary of hovering beauty which leads into the title track. emotional and assured, the track 'bécs' is an astonishing contribution to contemporary pop. 'sav' co-written by cédric stevens (aka acid kirk) inhabits a less structural terrain as one enters a forest of small sounds and oblique atmospheres, where the closing 'paroles', a gentle melody unravels amongst swirls of electronics and fried disruption. bécs is not just an album or a series of songs, it's a world to inhabit, a landscape ripe with sounds, songs and that esteemed fennesz signature.

a singular work by a singular artist.

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 $23.01

new to stock as of
april 22nd, 2014


saint cecilia knows (uk) #cec 002 cd

jack rubyhit and run” double compact disc set

  • hit and run (2:29)
  • mayonnaise (2:05)
  • bored stiff (3:41)
  • bad teeth (3:27)
  • sleep cure (3:08)
  • beggars parade (2:37)
  • neon rimbaud (5:19)
  • out of touch (3:11)
  • hit and run (3:57)
  • bad teeth (don fleming "instant mayhem" mix) (3:40)

  • destroy/lost (16:22)
  • beryllium blues (1:29)
  • parietal cha cha (1:24)
  • lithium serenade (1:16)
  • hydrogen lullaby (0:42)
  • palaatine march (1:49)
  • sphenoid waltz (0:42)
  • sodium nocturne (1:54)
  • temporal tango (1:08)
  • mandible mambo (0:56)
  • ghost note (16:51)
saint cecilia knows press release ::
the collected recordings of legendary lost 1970s new york city band, jack ruby. seen and heard by just a precious few, jack ruby made only five studio recordings and played an equal number of gigs between 1973 and 1977. none of their music was ever released and, until now, they have existed solely as a word-of-mouth legend among peers. yet their legacy and influence can clearly be heard in bands that followed in their wake like sonic youth and teenage jesus and the jerks. they have been variously described as "the velvet underground in a car crash" and the "art-punk steely dan."

formed in 1973 by vocalist robin hall, guitarist chris gray, multi-instrumentalist randy cohen, classically-trained viola player boris (also known as boris policeband), and later joined by bassist george scott (james chance and the contortions/8-eyed spy/john cale) and new vocalist stephen barth, the first incarnation of jack ruby demoed two tracks in a times square recording studio in 1974; their signature tune, the nihilistic proto-punk "hit and run" -- sounding like some unholy blend of raw power-era stooges, velvet underground and j.g. ballard's crash -- and a bizarre number entitled "mayonnaise," based around boris' amplified viola and primitive electronic "beats" sequenced on cohen's serge synthesizer. these two cuts were used to hustle additional studio time from epic records through sly stone's a&r, stephen paley. three more maniacal songs of arch art-punk with killer pop hooks -- "bored stiff," "bad teeth," and "sleep cure" -- were all recorded in one five to six hour session at columbia studios in may 1974.

with cohen patching musique concrète sounds through the serge, set against gray's banshee guitar-playing and hall's snotty vocals, the jack ruby sound was formed. but a record deal evaded them. cohen left and started a new career as a writer for late night with david letterman and, later, as the ethicist, a columnist for the new york times solving readers' ethical problems.

in 1976, hall and gray reactivated jack ruby as a live-performing unit with george scott on bass. they played harder, faster and louder than any other band in new york at that time. their rehearsals at matrix studios, and dusk-to-dawn parties at the bowery apartment behind cbgb's shared by gray and scott, became a cult draw for other nyc punk and no wave musicians. hall quit the band unexpectedly in 1977, days before their first scheduled gig. jack ruby continued on as a power trio with gray, by now the only original member, taking over vocal duties for a couple of shows alongside teenage jesus and the jerks and the fleshtones, before disbanding for good after one last riotous show with new vocalist stephen barth at max's kansas city, formerly stalking ground of the band's idols, the velvet underground.

hit and run is a two-disc set of everything jack ruby recorded between 1973 and 1977 (across four incarnations of the band) that should see them acknowledged as one of the most radical and brilliantly original groups to emerge from the 1970s new york city music scene. remastered from recently-discovered master tapes, the first disc collects all five of the band's studio recordings, which although 40 years-old still sound thrillingly urgent and modern, alongside a 1977 cassette of a band rehearsal, and a 2013 remix by producer don fleming. disc two contains another side to jack ruby; a series of largely-electronic, avant-garde pieces from 1972 and 1974 -- nine short tracks that play like a library record, book-ended by two longer ones -- some of the earliest extant recordings made on a serge synthesizer. what jack ruby left is a remarkable legacy of recorded music -- hidden for decades, now-revealed -- constituting a previously-unheard secret history of the new york city music scene of the early 1970s.

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new to stock as of
april 22nd, 2014


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 best of 2014 !!! 
yellowelectric (usa) #gr-013 lp

roy montgomery324 e. 13th street #7” double long playing record set

  • suzanne said
  • trial by separation
  • submerged & colourful
  • cousin song
  • film as a subversive art
  • long night

  • it's cold outside
  • german sister
  • something else again
  • adrift
  • just melacholy
  • used to

  • times three
  • some other times
  • strange attractor
  • long walk
  • judah
  • who said

  • on the road i
  • e.n.d.
  • intertidal
  • fine, fine, fine
  • in your wake
april 2014 release ; ... timely vinyl issue of this collection of new zealandbedroom” guitarist roy montgomery’s output, including the lone 1985 single by his band the shallows, plus a series of influential home recordings made in new york in the mid-90’s ...

... features backing by barbara manning, bill direen, mary heney, and others ; highly recommended !!!
yellowelectric press release ::
roy montgomery - 324 e. 13th street #7
yellowelectric, gr-013.

release date: april 30th 2014

gatefold double vinyl includes three new songs, new artwork/unpublished photos, insert with updated intro by bill meyer and roy mongtomery, remastered by timothy stollenwerk.

originally released on drunken fish.

ten singles and two albums. at a certain point during my stay in the apartment on 13th street i either said it to myself or said it out loud – i can’t recall – but that seemed a realistic target all things considered. few distractions, few visitors, few appointments. a busy city to break up the endless music looping in my head long after the headphones had been taken off. a micro-studio easily patched together and able to be configured in only one or two variations. time to pay some dues. both to the 45 single and the concept album. the small vinyl artefact that fed my musical appetite at key times in my life. no “b” sides if it could be helped. chasing a theme for as long as it took. waiting for the real pattern to emerge. the perfect visual ratios of 7” and 12cover art. talking with the dead. replying to the faded parsimony of a young fan and would-be maker of records (me): “get it down now because this may be as good as it gets,” “don’t wait for a real label to pay for your studio time,” time spent recording should always at least match time spent playing live”. i figured that the universal average for bands and recording artists was one, maybe two, good singles and an ok album then oblivion or, worse, a slow decline through contractual obligations. the only contract i had was with a scattering of friends, mostly american, who were there to deal with the out-pourings, should they arrive. and things had bottled up. time to un-bottle. not all at once. a few minutes at a time only for the intense stuff. handing over bracketed ideas to this or that label as an act of faith. then watching in awe as others transformed signals into objects. and here, running full circle in the literal sense, 7 goes into 12 many times, with folk new and old keeping the faith. lucky me.

- roy montgomery

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new to stock as of
april 19th, 2014


threads:
electro-acoustic-composition
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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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agaric (usa) #ag 1998 cd

borbetomagustrente belles anées” compact disc

  • trente belles anées (46:16)
january 2012 release ; ... total crusher of a new blurst from the borbetomagus trio of jim sauter, donald miller, and donald dietrich, recorded live, “in-situ” at the superb montreuil hot-spot instants chavires in front of a ravenous crowd, heard at various points throughout attempting to scale the walls of the famed “city of worms”, only to be electrified in the process ...
agaric press release ::

finally, its out!! and available.

trente belles annees (agaric 1998) cd

final concert of the 2009 european tour celebrating 30 years of music making.

recorded live at instant chavires in montreuil, france

liner notes by dan warburton who attended the concert. killer!

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agaric (usa) #ag 1997 cd

borbetomagusborbetomagus a go go” compact disc

  • chiote à l’esprit (33:23)
  • gestapo seh wolf barbie* (14:44)
  • we were done with the judgement of god last week (7:47)
* ratline to south america sold separately
... most recent borbetomagus disc ; recorded live at pezner - villeurbane, france, december 4th 1998 ... they’ve very much still got the fire, blood, and guts that put them on the map 30-odd years ago ; always a pleasure and a treasure ...

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agaric (usa) #ag 1996 cd

borbetomaguslive in allentown” compact disc

  • untitled (1) (32:30)
  • untitled (2) (21:27)
2007 release ; cd reissue of the lowlife cassette covering the band’s performance at “the 3rd annual halloween extravaganza” on october 29, 1986 ...
agaric press release ::
borbetomagus - live in allentown
by phil freeman

like many music journalists/critics, my listening habits are in continual flux, my tastes evolving and mutating day by day. there are some constants - anything that could be called metal will get at least an idly curious half-listen, anything that could be called indie will get binned without a backward glance. jazz of the "free" variety (however one defines that), particularly 60s reissues, will get a warm welcome; post-bop or smooth fusion will have to argue much more strenuously for itself. but i'm always willing to be surprised. i was recently blindsided by the kompakt label compilation total 6, after years of ignoring techno. it's important to always be ready to hear something that will totally change the way you think about music.

the first record i can remember pressuring my father to buy for me was judas priest's screaming for vengeance, in 1982, when i was about to turn eleven. by 1987. i was a metalhead to the marrow of my bones, making an occasional side trip into punk - black flag, dead kennedys, flipper, bad brains, the minutemen. (remember, this was america - suburban new jersey to be precise. to this day, i have not heard never mind the bollocks in its entirety, and the only version of the clashs debut i know is the one with i fought the law on it.) i owned exactly five jazz records: miles daviskind of blue, bitches brew and tutu, and john coltrane’s a love supreme and meditations.

spin magazine, which had recently supplanted rolling stone as my primary source for information about new music, featured byron coley’s underground column in its record review section. it was the most interesting thing in the magazine by a long stretch. i couldn’t always decipher his prose to figure out what he was praising about the acts he discussed, and anyhow i'd never heard of a single one of them, but it was a fascinating, must-read section, month after month. it was there that i read about borbetomagus, specifically their cassette-only release live in allentown. i don't have the magazine anymore, so i can't quote coley's prose, but whatever he wrote about this sax-sax-guitar trio from upstate new york, i had to hear them.

i knew there was no way my local record store was going to be able to get live in allentown for me. i was going to have to go somewhere that really catered to the obscure and outre - bleecker bob's, in greenwich village. i'd never been there before, only walking past a few times on the way to a nearby comic store. but somehow i was certain that they would have this thing, if anyone would. so i made the tremulous journey into what i thought was the very beating heart of underground music. i walked in the store, awed by the vinyl sleeves that covered the walls and the surly, leather-and-black-denim-clad clerks who i was certain would beat my suburban ass and throw me back to the sidewalk, knowing how unworthy i was to sully their punk rock shrine with my presence. but they didn't. and sure enough, in the glass case where they kept their cassettes, there it was. red-and-black construction paper cover, white plastic case. i think i paid six dollars. i put it in my battered walkman on the way out the door.

when the first hideously distorted shrieks and roars hit my ears, i almost fell over from the raw force of it. that couldn't be a saxophone - it sounded like someone being torn limb from limb. was that a guitar, or someone revving up a gigantic engine to the brink of explosion? in truth, it was hard to even discern one sound from the others. nothing on the tape had any obvious reference points in anything else i owned, or had ever heard. even meditations, the screechiest album in my collection, sounded like lounge music compared to this. i was terrified, but i couldn't stop listening. i had to hear what came next.

the first side of the tape contains a single long piece, ending in tape slice. the second side picks up with what might be the same piece. after eight minutes or so, there’s a brief burst of applause, and some shouts of “encore!” from a very enthusiastic woman, then the next (and final) section begins. the borbetomagus lineup documented is a quartet, with adam nodelman on bass in addition to saxophonists jim sauter and don dietrich and guitarist donald miller. nodelman actually plays some fairly straight low chords near the end of the second side, as though attempting to anchor the music and keep it from becoming total noise. toward the end, someone (maybe a borbetomagus member) begins vocalizing in a manner reminiscent of early butthole surfers, as miller's guitar and at least one of the saxophones continue to sputter, snarl and squeal.

i listened to live in allentown almost daily for a couple of years, even forcing it on friends who wanted no part. i began to memorize the subtle, almost intuitive shifts in what had initially seemed like an unceasing, undifferentiated roar. the interplay between group members revealed itself. and this repeated close listening began to alter the way i heard other music. i sought out harsher and more punishing sounds in general, yes, but i also started to pick apart all the music i heard, trying to understand what each player was contributing to the whole, rather than hearing a record as a solid mass with the vocalist slapped on top like a pizza topping. live in allentown taught me to listen like a critic.

i’ve still go my original cassette copy of live in allentown (which until now has been ridiculously rare, not even listed in many borbeto discographies). to my amazement, it’s never melted down or spooled out of its case. i recently took it out and converted it to cd-r, and stuffed its two long tracks into my ipod. to this day, it’s my favorite borbetomagus recording, and to my ear the best thing they’ve ever done. now that it’s been reissued on disc, i can go back anytime i want and get whacked in the head by it all over again, just like when i was fifteen and first discovering that there was more to music than metal.

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agaric (usa) #ag 1993 cd

borbetomagusseven reasons for tears” compact disc

  • untitled (1) (8:38)
  • untitled (2) (3:58)
  • untitled (3) (5:00)
  • untitled (4) (5:18)
  • untitled (5) (4:40)
  • untitled (6) (5:33)
  • untitled (7) (9:55)
1993 release ; cd reissue of the 1989 lp on purge/sound league, covering recordings made at the music box by the the adam nodelman-inclusive quartet lineup on december 6th, 1987 ...
agaric press release ::
seven reasons for tears

while anyone truly "into" the non-commercial sound stream should be hep to borbetomagus, the reality of the situation is a bit meaner. a decade down the road, this trio from new york is still a cipher to legions of so-called "with-it" noise-hounds. mention the band to yr average u-ground schmeedle and you'll get a look so blank that you'll wanna grab a brick and knock the patsy's mug six feet into tomorrow. hope is an eternal fucking spring, however, and with their ninth record in your goddam hands right now the hope exists that there won't be as many schmeedles living in my world one month from today.

all you've gotta do to become a borbetomagus fan is play their new record, seven reasons for tears. that is all. it beautifully documents the most simultaneously fierce and accessible periods of the band's history. converts and heathens can both bathe luxuriously in the radioactive improv-beauty-stream that lights up a room when the record is played at "special" volume.

tears is the living spirit of borbetomagus' numbered days as a quartet with bassist adam nodelman. days to be cherished. the brobdignagian wall-motion of jim sauter and don dietrich's free-roving horns, and donald miller's evil-minded guitar-abuse have always had a tendency to hit me above the belt. the textured furrows their howl historically carved into my flesh began at the navel and trailed bloodily up into the aether. nodelman's terricolous presence gave them full access to listener's aesthetic genitals for the first time and tears proves they can wreak remarkable damage in this area.

it would be the height of irresponsibility for me to suggest that any of this disk's spontaneous outpourings might encourage some sorta social action. not even the most extreme hippie-style derv-jerk includes a language of gestures explosive enough to coexist with the same incredible buckling of sonic structures here. still, something like the intro to "7b" has the same semblance-of-approachability that makes even "outside" rock music a relatively populist proposition. and you could certainly splice chunks of "3" and" 6" onto a live tape of mc5 doing a sun ra cover without making john sinclair roll over in his bathtub. so "mere" rock fans have nothing to fear.

which isn't to say that tears doesn't have spurts of unprecedented density. i thought they had closed the book once and for all on overtones and "found" feedback harmonics with their last record, new york performances (agaric 1986), but there are sections here that sound like a dozen distinct and angry zebra trying to burst out of ed koch's lower bowel. but it's only the four of them. and they're humans. they're just so goddam intent on what they're doing and so capable of transporting themselves through their hands and brains and lungs that their one beats yr three. it's a simple matter of shamanism - a quality sadly lacking in most everything you hear today.

imagine this record as a log that's been sharpened by magic, hardened by fire and is just aching to drive itself through yr chest. so, like, what are you waiting for? log in the chest or brick in the face? it's your yr choice, pal.

- byron coley forced exposure, 1987

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agaric (usa) #ag 1988 cd

borbetomagussnuff jazz” compact disc

  • abc (16:42)
  • bbc (7:41)
  • cbc (9:44)
  • dc (16:28)
... cd reissue of the band’s 1988snuff jazz” lp (a 16-minute blurt recorded at abc no rio on november 24th, 1988, then another captured two months prior at dc space, august 25th, 1988), including their track from the “japan zero noise” tape (another excerpt from the same abc no rio gig) & one otherwise un-issued take (ditto) ...
agaric press release ::
it is hard to believe that it has been twenty years since my ass warmed a bench in the dungeon at abc no rio. back in the day, it was dicey on the streets of the dank and decaying lower east side, streets riddled with drug dealers and abandoned buildings. a couple of drinks at the opening, and it was high time for a good aural irrigation. the boys gently ascended to their cruising altitude, and the sonic bursts pierced the damp masonry walls and every human eardrum in reach. the fans drooled, and the uninitiated, like the soccer players of chernobyl, stared in awe of this enfolding, life-threatening disaster and grit-crunching ass-kick machine. the dogs were howling this night!

remove all other living critters from the house, pour yourself a double single-malt scotch, turn the volume of your stereo to twelve, and enjoy as your ears are acid-etched.

-- michael hanke

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agaric (usa) #ag 1984 cd

borbetomaguszurich” compact disc

  • fleetwood dekooning (18:31)
  • pink pants (3:03)
  • ohne fleisch loaf (4:53)
  • ms. fisch brotchen (5:46)
  • refried tampons (3:50)
  • schwarma death (8:41)
  • nein is the loneliest number (10:51)
  • elaine defleetwood (22:18)
agaric press release ::

zurich (agaric 1984)
sauter, dietrich, miller, cd (orig. double lp)
live performance at rote fabrik, zurich 1984

recorded on october 13, 1984 at rote fabrik in zurich, switzerland. originally released in 1985 as a double lp. "what is best about sauter, dietrich and miller is that they are playing what jazz should be and not just emptying the tradition through some plastic-sounding fusion of jazz as a 'universal language.' they expand the frontiers of the trance-state without resorting to formulaic repetition and take the expressiveness so natural to jazz to new heights, turning over the conventions common to european improvised music. in short, they are a cleansing experience and force us to readjust our ears to a new sonic landscape. borbetomagus is one of the best things to come out of the united states in a long time" --gustave cerutti, editor; jazz 360° no. 73, november 1984. borbetomagus is: donald miller (guitar, alto saxophone), jim sauter (tenor saxophone, alto saxophone, baritone saxophone), and don dietrich (tenor saxophone, alto saxophone, guitar).

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threads:
free-jazz
harsh-noise
guitar-themed
electro-acoustic-improvisation
live-electronic

agaric (usa) #ag 1983 cd

borbetomagusbarbed wire maggots” compact disc

  • untitled (1) (21:43)

  •  untitled (2) (21:50)
2005 release ; cd issue of the 1983barbed wire maggots” lp (the band’s fourth) recorded at in-roads, new york, may 1982 ...
agaric press release ::
barbed wire maggots is a motherfucker, even now, 23 years after it was recorded. it probably remains my favorite borbetomagus album for a number of reasons, some of them sentimental, others aesthetic. it was, after all, the first of their lps i actually owned. that being the case, it flattened me in a specifically unprecedented way, and it was always the lp that i'd pull out when introducing a new listener to the band. and when viewed through the tube of subsequent history, when weighed on the great scales of underground whuh, bwm remains a goddamn estimable listen by any sorta objective criteria. it may also be borbetomagus' first fully mature work.

while it is technically their fourth album, barbed wire maggots, occupies a somewhat more complex place inside borbetomagus' discography than the release chronology would seem to imply. the may 1982 in-roads session at which it was recorded, actually occurred more than half a year after the date that resulted in both the industrial strength and borbeto jam lps (their fifth and seventh released lps, respectively). bwm is also the first record to feature the deranged ernst / smith derived collage work of donald miller. most importantly, it is the first full borbetomagus album to be truly representative of the core trio that comprises the band's classic line-up: don dietrich, donald miller and jim sauter.

as much as their first three albums are monsters, none of them have the holist textual destruction of bwm. their eponymous debut is almost like' some kinda derailed prog-death-train. brian doherty's electronics have a pronounced ubu / hawkwind vibe to them at times - obviously enough of one to make certain jazzbos shit logs. work on what has been spoiled, the second lp, features brit free-style giant, hugh davies, sitting in for doherty, but the session seems to be led by the truly fucked-up string explosions of donald miller, whose use of a bastard file should be monitored by health organizations around the globe. "the black album" (so-called, although it may also be eponymous) is a boiling mix of live tracks that investigate several new vistas of raw concrete noise. it has the distinct feel of a sampler, however, and includes doherty on one track. borbeto jam and industrial strength - with all those darn guest artists-sound a whole lot more like mere "free jazz" albums than anything else in the band's discography. one gets the impression that the guys reacted to this by immediately becoming more ferociously hermetic, more totally outside any graspable tradition other than their own. which leads us to bwm - a goddamn whale of a record, performed exclusively by the fingers, lips and tongues of dietrich, miller & sauter.

recorded at in-roads on mercer street, bwm documents a gorgeous evening of extreme sonic dialogue. sauter and dietrich's reeds skinny-dip into virtual classicist free mode at times (think 'trane having an erotic dream of frank wright), but more often they tangle like electric eels dropped like tampons from the poop hatch of a 747. upper register bowel tingling never felt so good. miller's guitar joins them up in the stratosphere, plugging raw current into metal bowls, sizzling like a wok full of stewardess jiz, just creating and distorting and worrying the fabric of the cosmos like some idiotic terrier-god from a lost part of the upanishads.

everything just moves so beautifully here. all of the early borbeto hallmarks are on display: the ducks-attacked-by-lawnmowers thing; the wilhelm reich busts another cloud scenario; the angel-wire-thimble connection; the part about the cop car getting crushed by a bulldozer inside a maelstrom in a sewer drain-it's all here. i don't believe i picked out the sweet suckery of an actual bells-together moment, but there's puh-lenty of that later in the discography. so don't sweat it. what is most remarkable about the music on bwm is how fresh it still sounds. there're no cliches brunted about here, nothing that's time-coded in the least; it's even difficult to really categorize the music inside any genre. jazz, industrial, rock, free ... there are elements of all of those here. and they are blended and/or smashed together in ways that will make yr hair feel lighter than feathers, lighter than maggots, lighter than anything.

as jackie gleason said, "how sweet is it!" and how i wish the great one was alive, sitting next to me now, as i play barbed wire maggots for the umpteenth time. surely he would have approved.

byron coley
south deerfield ma 2005

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threads:
harsh-noise
free-jazz
guitar-themed
concert-recordings

agaric (usa) #ag 1982 cd

borbetomagussauter, dietrich, miller (“the black album”)” compact disc

  • aimi studio (live) (18:16)
  • in roads (live) (6:34)
  • bergen community college (live) (9:24)
  • the wreck room (live) (7:24)
july 1990 release ; cd reissue of the band’s 1982 self-titled lp (their second, but third album overall with 1981’s hugh davies-augmented “work on what has been spoiled” yet to make an appearance on disc) covering material(s) recorded at aimi studios, in-roads, the wreck room, and bergen community college (bergen county represent !!!) between 1979 & 1981 ...
agaric press release ::
there's something very exhilarating about music that revels in its own sheer noisiness. borbetomagus sustain their caterwaul of sound with admirable stamina. the trio's interplay, as jim sauter has explained, is aimed at a total group sound in which individual parts merge into the whole. they get it. the bent notes, thick textures and quasi-feedback squeals of the saxophonists blend with donald miller's industrial strength electric guitar. miller apparently gets his rough and grainy sound by severely overloading his amplifier and using controlled feedback. the result is distortion so radical it makes individual notes all but impossible to pick out. you can trace some of these sounds back to conventional guitar techniques, but to list them would miss the point.

the pressurized reed work is similarly directed toward creating (dense/loud/frenetic) texture, not harmony. i can't hear from the record that any novel acoustic effects are derived from putting the bell of one sax into the other's, save that it obviously enforces the player's empathy and localizes the sound. the difference-tones interference patterns from "in roads" have more to do with the close intervals played than with the physical placement of the horns.

the minimal overall structure of these pieces has the pace and intensity of a drag race; they burn flat-out until they're done, then abruptly shut down. there are peaks and troughs and serendipitous pauses in the intensity level, but the dynamic range in general is not very broad. on the paramus recording, there are a couple of long pauses, during which you can hear that this barrage is as easy to talk through as a piano ballad. (one witless wag can be heard asking, "what was that, a tune-up?")

the intensity level isn't a minus. the group is very adept at creating complex, forbidding textures that words won't describe. when the saxes introduce some obvious quasi-riffing structure during the paramus piece, it sounds like they're reaching. they're better when they stick to abstract sonic assaults. borbetomagus' is not an approach that permits a wide range of expression, but their approach does thoroughly saturate and penetrate the narrow textural area they've staked out. ferocious stuff, definitely not for the faint at heart.

kevin whitehead, 1982


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free-jazz
harsh-noise
guitar-themed
electro-acoustic-improvisation
live-electronic

agaric (usa) #ag 1980 cd

borbetomagussauter, dietrich, miller, doherty (“the white album”)” compact disc

  • concordat 1 (12:13)
  • concordat 2 (5:48)
  • concordat 3 (5:19)
  • concordat 4 (9:28)
  • concordat 5 (7:34)
  • lost concordat (7:55)
1995 release ; cd version of the 1980 debut album (including a “lost concordat” which remained un-issued until now due to “badly deteriorated master tapes of the session”) from donald miller, don dietrich, and jim sauter’s borbetomagus (here augmented by future they might be giants drummer brian doherty on “live electronics”) ...

the ripples this and subsequent yearly borbetomagus releases sent out into the worlds of noise, free jazz, industrial, live electronics, and general “energy music” are incalculably present every time i sign for a package here at the mms office ; it’s endlessly inspiring that these guys are going strong after 30 years in the trenches, during which their impact has never lessened, their formula never diluted with outside influence ...

to paraphrase jimmy johnson ; no home should be without at least one borbetomagus recording ... or at least the homes that value the development of an ultra-personalized freedom-of-expression spec that, while taking cues from the movements mentioned above, could never rightly be classified solely into any one avenue other than “borbetomagus music” ...

a chronological progression through the band’s recorded oeuvre is recommended over random, stray dips ... this is where to begin ...
agaric press release ::
in this world of multitude, quantity and excessive consumer saturation, it is hard to even imagine today the enormous impact made by the very first public broadcast of electronic music made in western europe during the years following world war ii.

pierre schaeffer's seminal "musique concrete" was quickly followed by the first tentative works of karlheinz stockhausen, merging a world of transformed "concrete" sounds with one of mechanically "generated" electronic purity. ultimately, this created a unique genre of compositions that would greatly influence future composers, whether their tools were to be tape recorders, sequencers, oscillators and sine wave generators; or jazz oriented live improvisatory sessions with acoustic and non-acoustic instruments, synthesizers and inevitably any object within reach that could be hit, shaken, or enthusiastically abused.

it is unnecessary to mention here all the exponents of this musical vanguard whose work expanded rapidly on a global scale during the ensuing decades. fortunately, they have been recorded on vinyl, and these rare, invaluable discs ought to comprise any decent record collection covering the evolution of this genre.

it is within this "classic" frame of reference that i would like to introduce the the first recording of borbetomagus. this "tight" group of musicians has been playing together for years, but surprisingly, and regrettably, has been enjoyed by audiences at only a few performances scattered here and there throughout the metropolitan area. they deserve for better than that.

this rather unusual but intriguing combination of instrumentalists is able to create what i, after attending a live performance, would like to call a "pollock of sound": a sustained piece of music where unity and performance in its totality is the main objective; and where naturally evolving passages of tranquility still leave ample space for non-excessive individualism, gradually gaining momentum again when members join to ensure climactic high-energy unity-attested to very appropriately by the five titles on the lp.

the "concordant" matters described above are here, freely chosen with a great dose of admirable humor. this sound palette should be fully enjoyed at a high level of amplification to do justice to its very diversified texture and color, which seems to change constantly and gradually, displaying at times a sense of daringly controlled dissonance. when the threshold of acceptability has been surpassed, feedback seems to come into its own, demanding a fascinating ear-shattering tolerance of a soundscape defying standard norms.

the most fascinating aspect of this sound texture is the combination of conventional reed instruments and electric guitar, with high amplification and electronically altered and generated sounds - all performed live, with no pyrotechnic studio wizardry, which seems hard to believe at times.

all five pieces on this disc display a highly variegated approach to the realization of these massive, linearly and spontaneously evolving soundings. soundings that are, paradoxically, more attributable to the musicians' good listening sense than to relentlessly contributing.

borbetomagus has a strong linkage with such revered classic examples as kagel, cage, stockhausen, mev (to name but a few), whose provocative musical field of taboo and permissiveness has not been fully explored on this side of the ocean. keep an eye on this group and its future developments.

may i recommend this piece of vinyl highly to the well-seasoned ear.

henk berkman
cadence, november 1980

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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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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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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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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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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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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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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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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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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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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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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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