sachiko “golden hypnos” long playing record

• golden hypnos
  
  
• elder thing
  
• chikaeshi no uta

mauro antonio pawlowski “untertanz” long playing record

• meat eaters against racism
  
• nor the singer nor the song
  
• the lost art of footstomp - a reconstruction
  
• rocket no. 9
  
• air indiesque
  
• pantless party
  
• kick out the saints
  
• spiegeltjes, kraaltjes, alles kapot
  
• thirteen
  
  
• untertanz
  
• i feel so good
  
• no scene
  
• yoh!
  
• raar kind
  
• w

stephanie hladowski / c joynes “the wild wild berry” long playing record

• the dark eyed sailor
  
• lord bateman
  
• god bless the master
  
• higher germanie
  
• flash company
  
• george collins
  
  
• the pretty ploughboy
  
• greensleeves
  
• the wild wild berry
  
• the botter withy
  
• died for love

willie lane “recliner ragas” long playing record

• slopbringer
  
• halifax soft road blues
  
• evil electric puddin’
  
• silversleeve raga
  
• key to the bottle
  
  
• the maze of jofran
  
• bemused castaway blues
  
• agony of the king tumblers
  
• gutbucket’s beloved raga
  
• recline of western civilization
  
• seafeast coda

oren ambarchi / james rushford “wreckage” long playing record

• wreckage (1)
  
  
• wreckage (2)

kåre kolberg “electronic works 1970-1973” long playing record

• nova (1972)
  
  
• omgivelser (1970)
  
• keiserens nye slips (1973)

dieter moebius / conrad plank “en route” long playing record

• automatic (5:17)
  
• don’t point the bone (5:03)
  
• drum! (2:39)
  
• echaos (3:26)
  
• muffler a (4:45)
  
• pick the rubber (4:33)
  
  
• the truth? (3:28)
  
• prehistoric (2:37)
  
• die wirren (3:26)
  
• muffler b (2:25)
  
• don’t point the bone (remix) (5:10)
  
• automatic (remix) (4:22)
  
• prehistoric (remix) (5:39)

bureau b press release...

moebius & plank en route reissue (recorded in 1986, originally released in 1995) lp release date: september 28, 2012 “en route” was created in 1986, when the era of analogue synths and rhythm machines seemed to be drawing to a close. drum computers, samplers and digital instruments such as the synclavier and fairlight cms would shape the immediate future of electronic music. naturally, these wonderful machines formed a part of plank’s arsenal and were used extensively by him and moebius. the duo explored the new devices with their inimitable, cheerful sense of abandon, but were wise enough not to rely on them entirely. analogue instruments resurface time and again, such as trumpet (!), guitar and other sonic sources which are less easy to identify. nor had moebius packed his analogue synthesizers away in mothballs. rhythmic throughout, the music is wholly free of the darkness which characterized the fashionable industrial or new wave scenes of the period. a tendency to descend into enraptured sonic abstraction is similarly absent. the pieces almost sound as if they are the product of real-time improvisation – airy and self-evident, ballast-free of and without unnecessary embellishment. moebius and plank must have had so much fun during the recording sessions! “en route“ is hip electronic music, yet it steers well clear of the mainstream. the fact that three tracks were remixed for a commission by dave stewart (eurythmics) did nothing to change that. stewart was planning a film project (which never came to fruition) and hired producer manu guiot, who reshaped the tracks together with dieter moebius shortly before release in conny's studio. moebius and plank were en route, “on the way" so to speak. a damned fine way at that. sadly, “en route” was to be the last in a sequence of five albums they recorded and released together. conceived in 1983, “ludwig’s law” was the fourth album in chronological terms but only appeared in 1998, three years after “en route”. debilitated by severe illness, plank was no longer able to mix the recordings himself. his studio colleague bruno gebhard took on the task, together with moebius. shortly afterwards, in 1987, conny plank died. the common path of the two friends was now at an end. but “en route” was certainly not intended to mark the conclusion of their lengthy collaboration. for how much of the future, how much optimism were implicit in the certitude of being en route? - asmus tietchens

cults percussion ensemble “cults percussion ensemble” long playing record

• autun carillon
  
• baia
  
• my love she’s but a lassie yet
  
• circles
  
• percussion suite (3rd movement)
  
• the little dancer
  
  
• two jubilee pieces
  
• erlangen polka
  
• dream angus
  
• surrey with the fringe on top
  
• irish washerwoman
  
• polymers

cults percussion ensemble “cults percussion ensemble” compact disc

• autun carillon (3:53)
  
• baia (3:05)
  
• my love she's but a lassie yet (2:55)
  
• circles (3:08)
  
• percussion suite (3rd movement) (3:43)
  
• the little dancer (3:02)
  
• two jubilee pieces (6:43)
  
• erlangen polka (3:30)
  
• dream angus (2:51)
  
• surrey with the fringe on top (2:55)
  
• irish washerwoman (3:14)
  
• polymers (2:11)

trunk press release...

cults percussion ensemble jbh046 the cults percussion ensemble must have one of the best group names of all time. to many it will immediately come across as something sinister, a touch spooky and possibly a bit dramatic too. they are certainly two of those but the use of the word “cults” here is easily misinterpreted. cults, in this case, is the suburb of aberdeen. this is the only album by the group. assembled by percussion teacher ron forbes in 1976, the average age of the students was just 14. they came from a few of the schools in the area, including the cults academy, ellon academy, aboyne academy, inverurie academy and powis. my copy of the album came from spitalfields market in london. i loved the music the second it started, because it reminded me of carl orff and peculiar library. so i started to investigate it further, and eventually, thanks to the highly tuned world of percussion, was given the address of ron forbes. i got in touch with him and now we have this, a formal release of something quite lovely that was only previously available very briefly in 1979 at concerts when the young girls performed. over the years the original privately pressed album has achieved a little notoriety, not just because of the very beautiful music, but also because of the notable presence of one future star. in that last paragraph i say “little notoriety”, but when i investigated the album, there was scant information about anywhere. nothing online, and very few people had even heard of it. it seemed very much below the musical radar of just about everyone. however three people i knew of had come across it: one was a record dealer from france and i realized that the lp had been taken to france by the ensemble when they played there. the other two – 1) mr young from the very fine sound awareness blog and 2) the well respected music geek andrew symington, are both from scotland. yes, of course they are. so i got andrew to write a few words, which freaked him out a bit, but then he got on with it. he even went and found some pictures. i also asked ron forbes if he had any recollections and he wrote a short piece for the sleevenotes too. the original 1970s artwork for the album is all brown and beige, and i thought for something so musically beautiful a little more colour was in order. whether this was a good idea or not is down to personal preferences but i quite like the new sleeve. and i’ll always love the music no matter what’s on the front. thanks for listening jonny trunk

conrad schnitzler “con 3” compact disc

• kohlen (3:40)
  
• nächte in kreuzberg (4:46)
  
• hongkong (5:25)
  
• komm mit nach berlin (3:07)
  
• wer sind wir denn (vocal gilli & gregor) (3:48)
  
• coca (4:37)
  
• seemannslied (3:28)
  
• das tier (3:56)
  
• tanze im regen (4:49)
  
• con 3.1 (3:59)
  
• con 3.2 (2:45)
  
• con 3.3 (3:37)
  
• con 3.4 (3:47)
  
• seemannslied (alternative mix) (5:58)
  
• wer sind wir denn (alternative mix) (5:44)

bureau b press release...

conrad schnitzler con 3 reissue (originally released in 1981 on sky 061) cd release date: october 19, 2012 this album saw schnitzler head further in the direction of pop music. like “consequenz”, “con 3” is a collaborative effort with wolfgang seidel, alias sequenza. “con 3” is a really odd mixture of numerous ingredients which schnitzler was capable of combining with dexterity and taste. his musical handwriting is immediately apparent in the foreground. effervescent electronic sequences can be heard on all nine pieces, coming from somewhere and appearing to go wherever – this is schnitzler alright, this is his musical utopia. then wolfgang seidel, formerly drummer with ton, steine, scherben: an ideal partner for schnitzler when it came to programming rhythm machines and sequencers for a minimalistic mesh. another ingredient in “con 3” is undoubtedly german new wave (neue deutsche welle, ndw). how could it not have touched schnitzler? he lived and worked in berlin! above all, his succinct, absurd-surrealist lyrics would have suited many a protagonist of ndw. in this respect, schnitzler revealed two hitherto hidden talents: his delivery of lyrics written by himself was both precise and incredibly assured. the fourth component of “con 3” is without question the character in the background, peter baumann. as producer and sound engineer, he was to schnitzler what conny plank had been for cluster and harmonia and many others. his gentle, discreet impulses, his immense know-how with regard to modern studio technology and his perennial enthusiasm could be detected in all of the productions he created in his paragon studio. years of working with tangerine dream honed his studio experience and his intuitive flair for electronic experiments. those like schnitzler who were able to work in the paragon studio were in exceptionally good hands. there could hardly be a more fertile alliance. “con 3” might have sounded rather disconcerting to schnitzler listeners at the time. he had long since nailed his colours to the mast of the art scene (fluxus, beuys, performance art etc.) and now dared to attempt a balancing act between the high artistic aspirations of the avant-garde and the more entertainment-driven nature of pop music. not for the first time, perhaps, but particularly emphatically on this album. many had tried their luck at this tour de force and failed, not least because they lacked the necessary credibility. not schnitzler. he remained true to himself, and hence retained his credibility, integrating his new experiences and information resources wisely and creatively into his idiosyncratic and unmistakable music. - asmus tietchens

conrad schnitzler “consequenz” compact disc

• fata morgana (5:14)
  
• weiter (4:20)
  
• tape 5 (3:37)
  
• bilgenratte (2:34)
  
• afghanistan (5:31)
  
• lugen haben kurze beine (3:34)
  
• nachte in kreuzberg (3:48)
  
• humpf (2:52)
  
• m5-477 (4:39)
  
• pendel (4:17)
  
• wer geht da? (3:47)
  
• copacabana (5:17)
  
  
• bonus 1 (10:03)
  
• bonus 2 (8:25)

bureau b press release...

conrad schnitzler consequenz reissue (originally released in 1980 on ks 1004) cd release date: october 19, 2012 commercial schnitzler? how quickly, how prematurely are opinions and judgements bandied about when an artist suddenly changes the form of his work. schnitzler fell under such a cloud when, after 1978 his songs, for a time at least, did not exceed the catchy compactness of pop songs, whilst their harmonies and rhythms seemed to be drifting towards pop. produced by peter baumann (tangerine dream) the “con” (1978) album and the “auf dem schwarzen kanal” 12 inch ep (1980) ushered in this phase, and the private release of the "consequenz" album, also in 1980 – as the title suggests – was the logical consequence. "consequenz" is schnitzler’s first collaboration with another musician since the days of kluster long before. in wolfgang seidel, a.k.a. wolf sequenza, he found someone who not only understood the “schnitzler" principle but was able to expand on it with his own input. seidel, like schnitzler, had started early with the development of an alternative language of music, away from the mainstream. schnitzler actually went a step further: with the best educational intentions, he supplied a schematic drawing to go with "consequenz", illustrating in detail how his music “functions”, which instruments and equipment he used and how the various elements are interconnected. it is rare for an electronic artist to lay his cards quite so openly on the table, thus prompting the demystification of this new music. "consequenz" conveys twelve remarkably short pieces. remarkable in the sense that schnitzler’s early solo works (e.g. “rot” and “blau”) were characterized by unending sequences. not only are the tracks even shorter than on “con” (1978), their form has also shifted. electronic drums can be heard, along with an electric guitar in places; schnitzler and seidel sculpt rhythmic-harmonic structures with an analogue sequencer, blended with harmonies to create a somewhat unwieldy form of pop music. little musical motifs are played without really becoming melodies capable of underpinning bona fide songs. the influence of the german new wave (ndw) may also be detected, but not enough to determine the style of "consequenz". the dozen tracks on the album remain firmly rooted in schnitzler's sonic universe, each an individual facet of his infinitely shimmering aural cascades. and, naturally, “consequenz” is electronic pop music, lacking only the commercial added value which was of little interest to schnitzler anyway – he didn’t give a damn. asmus tietchens

ricardo donoso “assimilating the shadow” compact disc

• overture (4:26)
  
• chemical structures (9:07)
  
• from sterling to snow (5:14)
  
• reflection & rotation (9:55)
  
• the bow and the lyre (8:27)
  
• empathy gap (3:00)
  
• equivalence of the thirteen (8:11)
  
• probing (4:24)
  
• shadow aspect (7:51)
  
• renunciation (9:03)

digitalis vinyl press release...

digiv046: ricardo donoso “assimilating the shadow” in the time since ricardo donoso surprised all of us with last year’s progress chance, he’s been pushing his take on morning music even further, creating his most defining work to date. never before has his vision been clearer, his sound more distinct. donoso began asking questions with progress chance, even if it was a touch naive, but with assimilating the shadow he’s finally started finding answers. informed by deep house, trance, and club influences, this is a record of elaborate sonic labryinths that succeeds in projecting the experience of the shadow. as the album goes along, it gets more and more rhythmically complex. the rhythms start to feel wrong and seem out of time as the meter becomes more ambiguous. phrases will go over the bar line (or will be in different signatures altogether) but eventually it all lines up. these displaced rhythms symbolize the negated parts of personality, attemping to come out. within donoso’s hesitation he finds balance. assimilating the shadow is meant to be consumed at sunrise, at the party’s end. it’s an assemblage of dark, deeply considered sequences layered in a way that is a fusion of opposites. sacred geometry sets the stage for these intricate, emotional structures to emerge. tonal passages that appear divergent on their exterior but when layered through donoso’s unique prism act as a passageway through the world’s apparent polarities. according to jung, “everyone carries a shadow.” but the less that part of your unconscious, that shadow is acknowledged, the darker it gets. while assimilating the shadow seems to embody this bleakness on the surface, donoso is embracing it to reveal that underneath is a record full of hope, desire, and introspection. this is music that is intensely personal and reflective. assimilating the shadow is a mirror in which the illusions we hide ourselves behind are dissolved. mastered by james plotkin and cut to vinyl by lupo at d+m berlin. artwork by lee tindall.

“pictures of sound: one thousand years of educed audio: 980-1980” book and compact disc set

• balbastre's "romance" (1778)
  
• this is a sound spectrogram (ca. 1957-1980)
  
• scripture's curves (ca. 1906-1916)
  
• phonophotography (ca. 1928)
  
• peasant songs of great russia (1905)
  
• speech on forefather's day (1898)
  
• numbers and letters (1889)
  
• melography (1880-1885)
  
• schalldruck (1889)
  
• der handschuh (1889)
  
• balance to corners (1879)
  
• sailing, sailing (1885)
  
• from chopin's "berceuse" (1900)
  
• au clair de la lune--s'il faut qu'à ce rival--vole, petite abeille (1860)
  
• gamme de la voix--épellation du mot "rira"-- le jour n'est pas plus pur--chi crederia che sotto forme umane--et incarnatus est (1860)
  
• phonautograms from 1857 (1857)
  
• magia phonotactica (1650)
  
• sprachzeichner (1885)
  
• manometric flames (1872-1898)
  
• brown university, how do you do? (1878)
  
• clemens rector aeterne (ca. 1250)
  
• alleluia (ca. 1250)
  
• dots before scott's (1677-1850)
  
• scolica enchiriadis (ca. 980)
  
• musica enchiriadis (ca. 980)
  
• melody and measure of speech (1775-1827)
  
• what hath god wrought? (1838-1844)
  
• barcelonnette (1778)

dust-to-digital press release...

pictures of sound: one thousand years of educed audio: 980-1980 description: cd packaged in a 144-page hardback book; book dimensions are 10 x 8 inches; 164 images reproduced in full color; gold gilt edging and gold-foil stamping on cover and spine publication date: november 6, 2012 using modern technology, patrick feaster is on a mission to resurrect long-vanished voices and sounds—many of which were never intended to be revived. over the past thousand years, countless images have been created to depict sound in forms that theoretically could be “played” just as though they were modern sound recordings. now, for the first time in history, this compilation uses innovative digital techniques to convert historic “pictures of sound” dating back as far as the middle ages directly into meaningful audio. it contains the world’s oldest known “sound recordings” in the sense of sound vibrations automatically recorded out of the air — the groundbreaking phonautograms recorded in paris by édouard-léon scott de martinville in the 1850s and 1860s — as well as the oldest gramophone records available anywhere for listening today, including inventor emile berliner’s recitation of “der handschuh,” played back from an illustration in a magazine, which international news media recently proclaimed to be the oldest audible “record” in the tradition of 78s and vintage vinyl. other highlights include the oldest known recording of identifiable words spoken in the english language (1878) and the world’s oldest surviving “trick recording” (1889). but pictures of sound pursues the thread even further into the past than that by “playing” everything from medieval music manuscripts to historic telegrams, and from seventeenth-century barrel organ programs to eighteenth-century “notations” of shakespearean recitation. in short, this isn’t just another collection of historical audio — it redefines what “historical audio” is.

“drop on down in florida: field recordings of african american traditional music 1977–1980” book and double compact disc set

• robert dennis - “early one foggy morning”
  
• robert dennis - “boogie”
  
• robert dennis - “questionnaire blues”
  
• robert dennis - “mean mistreater blues”
  
• richard williams - “tain’t but the one thing that grieves my mind”
  
• richard williams - “baby, please don’t go”
  
• richard williams - “old forty”
  
• ella mae wilson and richard williams - “careless love”
  
• ella mae wilson and richard williams - “polk county blues”
  
• willie gillard - “polk county blues”
  
• emmett murray - “old-time rounders”
  
• emmett murray - “she’s a fool, she ain’t got no sense”
  
• emmett murray - “mobile blues”
  
• emmett murray - “i’m gonna dig myself a hole”
  
• emmett murray - “i’ll find my way”
  
• emmett murray - “drinkin’ bad bad whiskey”
  
• moses williams - “i’m from itta bena, mississippi”
  
• moses williams - “rolling and tumbling”
  
• moses williams - “sitting on top of the world”
  
• moses williams - “mama got more out of me away from home”
  
• moses williams - “i was natalie roberta’s son”
  
• moses williams - “harmonica solo”
  
• moses williams - “harmonica ‘hustle’”
  
• moses williams - “the train”
  
• moses williams - “catfish blues”
  
• moses williams - “come back, baby”
  
• moses williams - “apple farm blues”
  
• moses williams - “13 highway”
  
• moses williams - “which way did my baby go?”
  
  
• johnny brown - “that’s all right”
  
• johnny brown - “precious lord, take my hand”
  
• johnny brown - “will the circle be unbroken”
  
• johnny brown - “he got the whole world in his hand”
  
• johnny brown - “i don’t know what i’d do without the lord”
  
• ella mae wilson, lillie b. williams, and richard williams - “motherless children”
  
• ella mae wilson, lillie b. williams, and richard williams - “do, lord, remember me”
  
• ella mae wilson, lillie b. williams, and richard williams - “trial in judgment”
  
• ella mae wilson, lillie b. williams, and richard williams - “when the saints go marching in (when the moon go down in blood)”
  
• ella mae wilson, lillie b. williams, and richard williams - “you got to move”
  
• ella mae wilson, lillie b. williams, and richard williams - “i knew it was the blood”
  
• ella mae wilson, lillie b. williams, and richard williams - “in the morning”
  
• ella mae wilson, lillie b. williams, and richard williams - “he’s a battle axe”
  
• testerina primitive baptist church - “i don’t know what i’d do without the lord/did christ o’er sinners weep? (the weeping savior)”
  
• miccosukee church of god of prophecy - “altar call/congregational prayer/he set me free”
  
• florida-alabama progressive seven-shape-note singing convention - “god’s gonna set the world on fire”
  
• florida-alabama progressive seven-shape-note singing convention - “inside the pearly gates”
  
• southeast alabama and florida union sacred harp singing convention - “the old ship of zion”
  
• southeast alabama and florida union sacred harp singing convention - “florida storm”
  
• southeast alabama and florida union sacred harp singing convention - “service of the lord”
  
• southeast alabama and florida union sacred harp singing convention - “sweet morning”
  
• southeast alabama and florida union sacred harp singing convention - “alas! and did my saviour bleed”
  
• southeast alabama and florida union sacred harp singing convention - “pisgah”
  
• southeast alabama and florida union sacred harp singing convention - “parting hand”

dust-to-digital press release...

drop on down in florida: field recordings of african american traditional music 1977–1980 description: two cds packaged in a 224-page hardback book containing original liner notes with new essays, annotations and 60 images (most of which are published for the first time). publication date: november 6, 2012 based on four years of fieldwork throughout the state, the florida folklife program released the two-album, 27-track lp “drop on down in florida” in 1981. the album was intended to highlight african american music traditions for a statewide public audience, blues and sacred traditions in particular. in recent years, the folklife program sought the opportunity to produce an expanded reissue of the album that would include previously unissued fieldwork recordings and photos. drawing upon extensive fieldwork materials now housed in the state archives of florida, the expanded reissue includes nearly 80 previously-unreleased minutes of music on 28 new tracks, plus numerous photos documenting the musicians and communities that perpetuated these traditions. notable among the previously unreleased tracks are additional musical selections and personal narratives from one-string musician moses williams, four-shape-note sacred harp singing from an african american community in the florida panhandle, and recordings from the richard williams family in the blues and gospel-blues traditions. the reissue also includes new track notes from respected music scholars david evans and doris j. dyen; reflective essays from past and present folklorists with the florida folklife program, including peggy a. bulger, dwight devane, doris j. dyen, and blaine waide; and an extensive essay on african american one-string instrument traditions by david evans. the 2012 edition of “drop on down in florida: field recordings of african american traditional music 1977–1980,” highlights the significance of the previously unreleased material. in addition, it calls attention to the importance of the original lp and makes its contents available once again, this time to a larger audience.

“i have my liberty! gospel sounds from accra, ghana” compact disc

• christ believer's ministry - adoration prayer (1:15)
  
• family worship centre - good things for ghana (0:23)
  
• the divine healer's church: nima assembly - onyame ba (4:14)
  
• the divine healer's church: nima assembly - let all the people praise thy name (2:40)
  
• the divine healer's church: nima assembly - aden nti na merenna w'ase (0:48)
  
• the divine healer's church: nima assembly - onyame ye (4:16)
  
• the divine healer's church: nima assembly - abigail's praise song (1:48)
  
• prophetess bernice aryee of christ believer's ministry - the spiritual dialect (0:23)
  
• christ believer's ministry - glory be ohene (2:24)
  
• christ believer's ministry - on the mountain (0:40)
  
• christ believer's ministry - drums from the yellow church (3:18)
  
• christ believer's ministry - trust and obey (1:12)
  
• family worship centre - a great harvest (0:20)
  
• the divine healer's church: nima assembly - yewo fawohodi (2:14)
  
• the divine healer's church: nima assembly - drums from ashaiman (4:16)
  
• the divine healer's church: nima assembly - i have my liberty (1:09)
  
• the divine healer's church: nima assembly - wayi me afiri (2:31)
  
• great grace church - sunday school (1:28)
  
• shallom youth choir - countdown (1:47)
  
• great grace church - welcome to great grace (3:41)
  
• great grace church - no politics in heaven (0:51)
  
• christ believer's ministry - holy holy ghost (1:42)
  
• great grace church - stand firm church (1:20)
  
• power miracle chapel int. - claps from power miracle (0:36)
  
• christ believer's ministry - closing worship (8:21)

dust-to-digital press release...

i have my liberty! gospel sounds from accra, ghana contents: cd and 16-page booklet packaging: digipak case publication date: november 22, 2011 produced by calpin hoffman-williamson, i have my liberty! gospel sounds from accra, ghana features performances recorded live in 2008 in the churches of ghana’s capital city. this album could be seen as the missing link between american gospel records by artists like rev. johnny l. jones and traditional african artists like those featured on opika pende: africa at 78 rpm. amid accra’s bustling sprawl of swirling dust and exhaust, are countless havens for homegrown musical expression: charismatic and spiritual christian churches. there, distorted pa systems, anchored by female singers, and ramshackle guitars played by a rotating cast of local men weave in and out of popular melodies bringing congregations to their feet. singers emote in repeated phrases, lifted by tambourines, claps, and percussion, to unite their voices in praise and worship. i have my liberty! gospel sounds from accra, ghana takes listeners into these churches, where congregations join together to process the anxieties of their west african metropolis.

“opika pende: africa at 78 rpm” book and quadruple compact disc set

• cheikh amin hasanayn - surah al-haaqqa, pt. 1 (arabic; egypt) (3:20)
  
• mohamed ben hamadi, dit marocain - e zzine emlih yamana (arabic; algeria, morocco) (2:38)
  
• cheikh el afrit - enna nehoub, pt. 2 (arabic; tunisia) (3:06)
  
• cheikh abdelkader oueld zine - sigha med'heb
  
• pt. 2 (arabic; algeria) (3:20)
  
• rais mohamed sasbo - ghina' loziq (arabic; morocco) (2:54)
  
• les griots de tahoua - chanson de dyahadi, pt. 2 (hausa; niger) (3:15)
  
• mahamoud esma, roble hoche, and kihien ebrahim - guelabiessi (somali; somalia) (2:22)
  
• yetna taddeghegn - ere ye agerie lidj (amharic; ethiopia) (2:49)
  
• dan titi and his group - abdulkadiri kwori (hausa; nigeria) (2:58)
  
• groupe de jeunes filles de bamako - celu mankan (bambara; mali) (3:01)
  
• elhadji issaika bamba - algrouane, pt. 2 (dyula; burkina faso, mali) (2:52)
  
• sassi - ahlen bikoum (arabic; algeria) (2:53)
  
• youssef el benzarti et son orchestra - zendani staiffi (arabic; algeria) (3:21)
  
• rshisha
  
• hlima
  
• and cheikh abdesalam - `aishek baba (arabic; morocco) (3:17)
  
• messaoud habib - steukhbar rasd eddil, pt. 1 (tunisia) (2:56)
  
• sami al-shawwa - taqsim bayati (egypt) (2:48)
  
• mahieddine - mestakhbar mezmoum (arabic; algeria) (3:16)
  
• aicha - doumoua ellaini (arabic; tunisia) (3:07)
  
• nina and mary - git lil-haq, pt. 1 (arabic; egypt) (3:14)
  
• zohra el fassia - aita moulay brahim (arabic; morocco) (3:10)
  
• dalila rochdi - haragli guelbi, pt. 1 (arabic; tunisia) (2:31)
  
• el hadj mohamed el anka - rabi alaamlih iydaabar, pt. 2 (arabic; algeria) (3:20)
  
• fatimah bent meddah and kouider - adhouh, adhouh, pt. 1 (arabic; algeria) (3:22)
  
• cheikh zouzou - gheniet ben soussan, pt. 7 (arabic; algeria) (3:23)
  
• tuareg women of adrar des iforas - air de kel ajjer (rhythme ellehelleh) (touareg; mali) (1:43)
  
  
• mbongue diboue et son ensemble - tu nja tengene elie (3:04)
  
• yeboa's band - osu oblanyo (3:25)
  
• salia and his accordion - tondo muya (3:00)
  
• yankori beibatane - air de haoua (3:22)
  
• richard ábé brown band - b r s n bo b r (3:09)
  
• douta seck - dagagne (2:52)
  
• youkoui bamileké - ngwop (2:54)
  
• jolly orchestra - egberun buso (2:56)
  
• calender and his maringar band - the jambo song (2:29)
  
• kamkam - okafu nyi (3:07)
  
• jeli bakary - kenssa (3:05)
  
• jean koroma - morigbé (3:17)
  
• yagbe and her group - domagbe (2:15)
  
• aziakpon and his group - oyida mayi magbo (2:52)
  
• ohue sapey band - oblemo (2:56)
  
• pantanon - djelouwei wenike ahlanon (2:48)
  
• paul béhanzin et son ensemble - cholie (2:53)
  
• band of the gold coast police - high life – dagomba (2:46)
  
• kwaa mensah's band - eho ma ne wubu efu (2:52)
  
• b. jones - ante maria (3:08)
  
• black beats band - de ehuo (3:11)
  
• onana mbosa isidore - kurungu (2:43)
  
• unknown cameroonian - musique de danse (2:55)
  
• kekere tiamiyu and his group - saka amodu (2:31)
  
• the k&s band - suro onipa (2:48)
  
  
• chanteurs a la croix de cuivre - batata dia bwanga (katanga province, congo) (2:52)
  
• stonik and kiprono - molildo kiruk-yuk (kipsigis; kenya) (2:57)
  
• adikwa na bana loningisa rumba - tolingana (lingala; congo) (2:47)
  
• okoth onuko - march guitar (luo; kenya) (3:04)
  
• siti ganduri - arabian conga (swahili; kenya) (3:14)
  
• abdu owiti - stephen opio (luo; kenya) (2:47)
  
• tshamumania anastasie and singers - ndumba wakumi diekde dikasa (luba-kasai; congo) (3:02)
  
• bekyibei arap mosonik - iyan we kimoino (kipsigis; kenya) (3:00)
  
• tobbo eitel - ja bane (duala; cameroon) (2:39)
  
• kiko kids - tom tom (swahili; east africa) (2:35)
  
• o.s. africa jazz onema pascal - furaha ya kanu (swahili; kenya) (3:04)
  
• kabasele – kibongue, orchestre african jazz - titi (lingala; congo) (2:45)
  
• omolo washiembu - n. odera (luo; kenya) (3:10)
  
• pancras mkwawa - ngosingosi (hehe; tanzania) (2:36)
  
• richard chelobani - naswa (luhya / bukusu; kenya) (3:06)
  
• francois awila ye mpangi zandi - kiboba kiyma nkuaku (kikongo; congo) (3:23)
  
• ustad amar gaba - ba'd el zouz marghub (arabic; kenya) (2:52)
  
• elhubi jamila yni - mawali (arabic; rwanda / burundi) (2:59)
  
• mwinyi bin said - tela, pt. 1 (swahili; kenya) (2:39)
  
• mbaruk talsam - comic sketch (swahili; zanzibar) (3:07)
  
• evarist and party - nambanda (haya; tanzania) (2:37)
  
• kabongo bonkoli - musungayi nembwa matumba (luba-kasai; congo) (3:10)
  
• sekinomu - kayanda (ganda; uganda) (2:57)
  
• jean bosco mwenda - masanga (katanga, congo) (3:05)
  
• coast social orchestra - napenda (swahili; kenya) (2:35)
  
  
• unknown mahafaly - flute solo (ampanihy, madagascar) (1:21)
  
• flying jazz queens - siyahamba (zulu; south africa) (2:23)
  
• thayelo kapiye nyanja trio - wachona thayelo (chewa; malawi) (2:32)
  
• francis baloyi and shangaan band - sati wa vakwela (tsonga; mozambique) (2:33)
  
• evening birds - yenz' inqab' intombi (zulu; south africa) (3:41)
  
• ranoko sebabule - ditee (sotho; south africa) (2:23)
  
• tarik'i dada raleva - laloe e! (malagasy; madagascar) (3:05)
  
• orchestre andre philippe de st.-pierre - cuisine roulante (reunion) (2:58)
  
• aamiti and his concertina - onano (ovambo; angola, namibia) (2:52)
  
• josaya hadebe - yini wena funa (fanagalo; zimbabwe) (2:33)
  
• americo valenti - wati si sasekahipahpa (tsonga; mozambique) (2:02)
  
• lucas lunga - vura matambo (shona; zambia / zimbabwe) (2:51)
  
• wilson makawa and his guitar - bambo siyaya (chewa; malawi) (2:37)
  
• dipela tsabapedi - kxomo muwa (northern sotho; south africa) (2:35)
  
• mulaji ronger and 2 chokwe women - fuzhi inopenduka kwenda lamukiya (luvale, chokwe; angola) (2:54)
  
• clement nyamane and sotho men - nkau haka khoele (sotho; lesotho) (3:01)
  
• marguerite and razanatsoa - dia veloma i said omar (malagasy; madagascar) (3:11)
  
• caluza's double quartet - imini ifikile (zulu; south africa) (3:08)
  
• transvaal rockin' jazz stars - swaziland (south africa) (2:40)
  
• george sisimayi and his crazy five - ndapera cha cha (shona; zimbabwe) (2:48)
  
• elias nelushi - kama kalinyana (venda; south africa, mozambique) (2:40)
  
• orbert nentambo zahke - nongqangqa lishonile (zulu; south africa) (2:21)
  
• the play singer - boshiwe (zulu; south africa) (2:29)
  
• seychelles united band - waltz of the young hearts (seychelles) (3:28)
  
• griffiths motsieloa and company - nkosi sikelel' iafrika (zulu; south africa) (3:24)

dust-to-digital press release...

opika pende: africa at 78 rpm (recordings from 1909-1960s) description: 112 page book with 4 cds, dozens of full-color images from the era, the cds feature 100 never-before-reissued recordings from the 1920s-1960s. publication date: october 25, 2011 compiled and edited by jonathan ward from the introduction to opika pende: it is truly astonishing to consider the tremendous variety of music that was pressed to shellac discs on the continent of africa. popular songs, topical songs, work songs, comic songs, songs of worship, ritual, dance, and praise — the sheer range of musical styles resists any easy categorization. further, african geography itself resists boundaries. the boundaries of cultures and languages are often far more complex than political boundaries. complicating things further, entire countries seem to have been skipped over by both commercial 78 rpm record companies and ethnographers during the 78 rpm era. no doubt it was the same with many cultures. but that doesn’t mean that 78s weren’t everywhere, even in remote parts of the continent. by the mid-1960s, 78s were still a popular if not preferred medium in much of africa, as a significant amount of the population still used wind-up gramophone players. i have created this compilation with one simple goal in mind: to showcase a diverse amount of long-forgotten music from africa that transports me as a listener. it is one person’s offering of music that is wholly unavailable except in its original elusive and fragile format. while it is not definitive, nor am i attempting to construct or invent a narrative, there are important connections to be made. around one musical corner is another corner, and another. within these 100 tracks, traditional music stands side by side with popular music as traditional culture coexists with so-called modernity. as a non-african, i offer this set as an example of the riches that lay in waiting when considering the tens of thousands of phenomenal african 78 rpm discs that were issued, played, dispersed, and in large part, forgotten. “opika pende,” is a saying in the lingala language that means “be strong” or “stand firm.” it can also mean “resist.” - jonathan ward, 2011

“i listen to the wind that obliterates my traces: music in vernacular photographs (1880-1955)” book and double compact disc set

• hmv weather effects - wind (1:12)
  
• john jacob niles - john henry (2:29)
  
• anonymous (société anonyme) - untitled (1:06)
  
• reverend edward clayborn - then we'll need that true religion (3:01)
  
• ernest thompson - in the baggage coach ahead (3:15)
  
• emery glen - blue blazes blues (2:53)
  
• gennett sound effects - walking on ice (1:09)
  
• clara smith - kind lovin' blues (3:03)
  
• nick lucas - if you hadn't gone away (3:04)
  
• anonymous (knight home-recording disc) - beautiful mansions of gold (2:11)
  
• eva parker - i seen my pretty papa standing on a hill (3:13)
  
• pale k. lua - the rosary (2:56)
  
• gennett sound effects - mocking bird (1:12)
  
• bradley kincaid - froggie went a-courting (2:42)
  
• sylvester weaver - damfino stump (3:01)
  
• seger ellis - montana call (3:23)
  
• alfred g. karnes - when they ring the golden bells (2:53)
  
• anonymous (recordio home-recording disc) - mandolin (1:26)
  
• anonymous (recordio home-recording disc) - the stranger (2:12)
  
• ex-governor alf. taylor's old limber quartet - brother noah built an ark (2:28)
  
• ed lang - a little love a little kiss (3:01)
  
• standard radio sound effect - canadian geese (0:51)
  
• roy smeck trio - reaching for the moon (3:09)
  
• roland hayes - i want to go home (1:31)
  
• obed pickard of station wsm nashville tennessee - the old grey horse (3:19)
  
  
• gennett sound effects - walking in snow and thin underbrush (0:57)
  
• kelly harrell - rovin' gambler (2:29)
  
• sara martin & sylvester weaver - i've got to go and leave my daddy behind (2:42)
  
• frank ferera's hawaiians - pinin' hawaii for you (2:46)
  
• gabriel brown and his guitar - going my way (2:56)
  
• gennett sound effects - rainfall and thunder (thunder not from life) (1:03)
  
• lew childre - it don't do nothing but rain (3:11)
  
• bertha idaho - graveyard love (3:08)
  
• frank luther - pretty polly (1:02)
  
• gennett sound effects - canary birds: several hundred (1:08)
  
• roland hayes - xango (1:56)
  
• dick reinhert - the girl i left behind me (3:20)
  
• rev. calbert & sister billie holstein - yes i know (3:05)
  
• chubby parker - bib-a-lollie-boo (2:53)
  
• thurlow lieurance & clement barone - winnebago love song (duet) (0:46)
  
• clara smith - my good for nuthin' man (3:08)
  
• sol hoopi's novelty trio - stack o'lee blues (3:00)
  
• cliff edwards - (i'm cryin' `cause i know i'm) losing you (2:53)
  
• marc williams - william & mary (3:01)
  
• anonymous (recordio home-recording disc) - way down home (3:04)
  
• gennett sound effects - night noises (0:59)
  
• gid tanner & his skillet lickers - ya gotta quit kickin' my dog aroun' (3:09)
  
• stovepipe no. 1 (sam jones) - cripple creek and sourwood mountain (3:09)
  
• goebel reeves - cowboy's prayer (2:56)
  
• bill kearney & earl bush - precious memorys (sic) (3:12)
  
• carl t. sprague - o bury me not on the lone prairie (3:14)

dust-to-digital press release...

i listen to the wind that obliterates my traces: music in vernacular photographs (1880-1955) 184 page hardback book with 2 cds, 150 sepia photographs reproduced in full-color, the cds feature 51 vintage recordings from 1925-1955. publication date: august 2, 2011 compiled by steve roden, … i listen to the wind that obliterates my traces brings together a collection of early photographs related to music, a group of 78rpm recordings, and short excerpts from various literary sources that are contemporary with the sound and images. it is a somewhat intuitive gathering, culled from artist steve roden’s collection of thousands of vernacular photographs related to music, sound, and listening. the subjects range from the pt barnum-esque professor mcrea – “ontario’s musical wonder” (pictured with his complex sculptural one man band contraption) – to anonymous african-american guitar players and images of early phonographs. the images range from professional portraits to ethereal, accidental, double exposures – and include a range of photographic print processes, such as tintypes, ambrotypes, cdvs, cabinet cards, real photo postcards, albumen prints, and turn-of-the-century snapshots. the two cds display a variety of recordings, including one-off amateur recordings, regular commercial releases, and early sound effects records. there is no narrative structure to the book, but the collision of literary quotes (hamsun, lagarkvist, wordsworth, nabokov, etc.). recordings and images conspire towards a consistent mood that is anchored by the book’s title, which binds such disparate things as an early recording of an american cowboy ballad, a poem by a swedish nobel laureate, a recording of crickets created artificially, and an image of an itinerant anonymous woman sitting in a field, playing a guitar. the book also contains an essay by roden.

emeralds “just to feel anything” compact disc

• before your eyes (4:05)
  
• adrenochrome (6:11)
  
• through & through (4:40)
  
• everything is inverted (6:35)
  
• the loser keeps america clean (3:40)
  
• just to feel anything (8:53)
  
• search for me in the wasteland (8:12)

editions mego press release...

emego 150 / emeralds just to feel anything cd release date 05.11.2012 written, recorded and mixed in june 2012 at tangerine sound in akron, ohio. recorded by andrew veres. mixed by andrew veres and emeralds. mastered by james plotkin. vinyl cut at dubplates & mastering, berlin, august 2012. artwork and typography by mark fell. front cover photograph by mark mcguire. back cover photograph by steve hauschildt. layout assistance by michael pollard. emeralds is mark mcguire, steve hauschildt and john elliott. thanks to russell brill, mark fell, peter rehberg, jamie stillman and ben vehorn special thanks to andrew veres just to feel anything, the new album by emeralds, surpasses all expectations, just as its predecessor, does it look like i’m here, did in 2010. this expertly recorded new album sees the band deliver plenty of their distinctive aesthetic for old fans to enjoy while offering a new range of fresh, exciting ideas for newcomers. 'before your eyes' begins the record with a steady build-up, which bleeds into humid layers of synthesizer pads and warm guitar. the track sets the tone perfectly for 'adrenochrome', a fast-paced excursion into new territory for the band. the calm after the storm appears in the form of 'through & through', with its contemplative strokes and heart-wrenching atmospherics. 'everything is inverted' is an energetic rush of monolithic guitar leads, pulsing drum machine, and driving sequences. still, it's on the second half of just to feel anything, a triptych of tracks, where emeralds adroitly demonstrate why they are a cut above their contemporaries. 'the loser keeps america clean' kicks off the b-side by diving into the deepest fathoms of their experimental oeuvre. as the final bursts of static dissipate we are led into the opening chords of the eponymous 'just to feel anything' a new zenith in emeralds' repertoire. the album closer, 'search for me in the wasteland' sees mounting layers of brightly strummed guitar chords blossom into a storm of color and expertly crafted textures-- a truly majestic end to an immense album. with just to feel anything, emeralds shine a laser-sharp light into the future, while preserving their uniquely intelligent historical perspective. the long-awaited next chapter in the emeralds discography is finally here, emerging as a sophisticated progression in both sound and structure.

kevin drumm “relief” long playing record

• relief (1)
  
  
• relief (2)

editions mego press release...

emego 137 / kevin drumm relief release date 05.11.2012 recorded 2012 at worse than burning offal studio. mastered at ninth circle studios by chris cut at dubplates & mastering, berlin, september 2012 once more chicago’s finest delivers another devastating slab of emotionally charged noise. its been 10 years since the epic statement that was ‘sheer hellish miasma’. since then drumm has trawled through the depths of the global underground with a back breaking speed, adding many masterful releases to his oeuvre for labels the world over. armed with his distinctive palate of audio tactics, drumm returns to editions mego to deliver ‘relief’, a 36 minute hypnotic roller coaster ride through the terrain of his unique vision. a haunted melody pinned to a bed of nails. a spinning ride through aural spaces. that's the kind of stuff we like round here. extreme yet approachable, a music that demands repeated listens.

guerilla toss “jeffrey johnson” long playing record

• chronophobia
  
• just puss
  
• shitty gary
  
  
• cgb spender
  
• breeding snakes for variety

thurston moore / john moloney “caught on tape” long playing record

• caught on tape (1)
  
  
• caught on tape (2)

sensate focus “sensate focus 2.5” twelve inch single record

• x
  
  
• y

vapor gourds “dagger magic” long playing record

• intro
  
• magic dagger
  
• greenslaves
  
• boilerhouse
  
• sesshu
  
• spark photos
  
• swarm
  
  
• eggs reflected in a distorted mirror
  
• snails tongue
  
• dropping keys
  
• fluid mappers
  
• vomact
  
• blythii
  
• pneuma
  
• dagger magic rhythm

palais schaumburg “palais schaumburg” double compact disc set

• wir bauen eine neue stadt (3:27)
  
• die freude (3:35)
  
• gute luft (2:33)
  
• ahoi, nicht traurig sein (3:45)
  
• grünes winkelkanu (3:38)
  
• morgen wird der wald gefegt (3:50)
  
• deutschland kommt gebräunt zurück (3:40)
  
• hat leben noch sinn? (1:45)
  
• eine geschichte (3:03)
  
• madonna (5:35)
  
  
• rote lichter (2:37)
  
• glücklich wie nie (2:38)
  
• kinder der tod (version) (1:57)
  
• telefon (2:45)
  
• kinder der tod (3:08)
  
• aschenbecher (2:41)
  
• gute luft (live) (2:55)
  
• hat leben noch sinn (live) (2:06)
  
• herzmuskel (live) (2:27)
  
• morgen wird der wald gefegt (live) (3:04)
  
• ahoi, nicht traurig sein (live) (3:05)
  
• rote lichter (live) (3:40)

bureau b press release...

palais schaumburg 2-cd release date: october 12th, 2012 the influential german band palais schaumburg has reunited in the classic lineup. since its release in 1981, their debut album has remained in a league of its own: fleet-footed and peculiar, abstract and pop, amateurish and savvy, it showed real alternatives to the then-pervasive crude search for identity found in the "new german wave". the band, which consisted entirely of divergent personalities, has reunited in this formation to rediscover their common ground, further develop, and to perform live. their few recent live concerts in berlin, cologne, and tokyo were met with rapturous reception – and not only from those in their own age group. in this post-sampling era, with the current, dynamic changes in the creation and reception of music, their statement has lost none of its fascination. anyone who sees and hears the combination of idiosyncratic bass riffs (blunck), bizarre yet catchy rhythms (hertwig, blunck), fehlmann's shrill horn and synthesizer fanfares, and hiller's seemingly atonal staccato guitar work and oblique lyrical conglomerates, will immediately comprehend the influence of this band. therefore, we are very pleased to reissue the important original works of palais schaumburg in an appropriate and extended format. what do we mean by that? well, in addition to the actual album, this reissue includes a second cd / lp containing all the pieces that the band recorded prior to their debut album (all of them now for the first time on cd), and a previously unreleased recording of a concert in holland. the limited edition 180 gram vinyl double lp additionally contains a single with four tracks from a concert in hamburg where people from the audience – among them andreas dorau – perform their own versions accompanied by the band. a lavish booklet includes rare photographs and liner notes by chris bohn, editor of the british music magazine "the wire". palais schaumburg – a brief history: in 1980, two students met at the hamburg art academy: thomas fehlmann, who appreciated art and music and wanted to connect them, and the musician holger hiller, who had escaped the fractious hamburg alternative scene, preferring the art school's conservatory of music. the spirit of the early new german wave blew through the country, the first independent labels vied for innovative artists, and the west german post-punk scene began to take shape. hiller and fehlmann brought in fm einheit (from the band abwärts) on drums and the californian chris lunch on bass. but only shortly after the first single, with timo blunck's bass riffs and the adept drumming of ralf hertwig, did the band establish its classic lineup. palais schaumburg played numerous gigs in this lineup and recorded a second single (telefon) – then on the indie label zick zack. the recording of the album was enhanced by the british producer david cunningham (flying lizards). soon the music giant phonogram came along waving a contract. though it was predictable that the album would not exactly be a commercial success, its special position in german pop music soon became clear. the attention the album received was considerable, given the "awkwardness" of the music. even abroad, the qualities of the quartet did not go amiss, especially in the netherlands and great britain. these days, alongside to the central works of the famous krautrock bands, it is one of the most sought-after albums of german avant-garde music internationally. a printed english translation of the lyrics perhaps contributed to album's high profile abroad, as certainly did the appearance of the band: with shaved-up necks, side partings and traditional german jackets, palais schaumburg took a stance against the clothing habits of the punks on the one hand, and the peace movement on the other, toying provocatively with supposedly ur-germanic symbols and meanings. the intention was not merely to be acoustically "different."

robert hampson “suspended cadences” long playing record

• suspended cadences (three) (20:01)
  
  
• suspended cadences (four) (19:59)