thought broadcast “emergency stairway” long playing record

• conflict dub (4:02)
  
• orgone theater (2:16)
  
• 03.18.2012 (2:37)
  
• breaking test (5:13)
  
• riot (2:35)
  
  
• 03.10.2012 (3:12)
  
• portrait heads (3:45)
  
• silver action (2:35)
  
• beyond self immolation (4:05)
  
• emergency stairway (5:26)

harry pussy “let's build a pussy” double long playing record set

• part one
  
  
• part two
  
  
• part three
  
  
• part four

editions mego press release...

emego 146 / harry pussy let's build a pussy 2lp release date 28.08.2012 bill orcutt: mouse adris hoyos: mouth originally released in 1998 cut by rashad becker at dubplates and mastering, berlin, june 2012 liner notes by alan licht editions mego is happy to announce a vinyl reissue of the long out of print and impossibly rare final harry pussy album, the monumental ‘lets build a pussy’. originally released in 1998 after the band broke up, this has always been an elusive release. “you cannot buy this anywhere and you will never find one!!!”, was what one writer exclaimed. consisting of an hour long piece of bill orcutt time-stretching a second of adris hoyos’ voice into a slow shifting drone. a piece of music you will love or hate, with not much for anything in between. as alan licht states in his liner notes: let’s build a pussy is a requiem, of sorts; adris’ opening one-second vocal noise has been variously termed a “yelp” or a “shout” but i prefer to think of it as bill and adris’ mutual last gasp, a band death rattle. put in a computer program, adris’ protracted utterance becomes, almost literally, “the ghost in the machine”—let’s build is something of a late 90s audio inheritor of 19th century spirit photography. paradoxically functioning as both harry pussy’s curtain call and final act, let’s build a pussy is an altogether unique past-tense statement from a band whose members were not immediately going on to solo careers or to other bands. available only in this format.

nick edwards “plekzationz” double long playing record set

• chance meets causality uptown (16:24)
  
  
• (no) escape from '79 (15:14)
  
  
• inside the analog continuum (15:48)
  
  
• a pedant's progress (15:39)

oren ambarchi “sagittarian domain” long playing record

• sagittarian domain (1)
  
  
• sagittarian domain (2)

bernard parmegiani “l'œil écoute b/w dedans-dehors” long playing record

• l'œil écoute (19:03) 1970
  
  
• dedans-dehors (22:22) 1977

recollection grm press release...

regrm 003 / bernard parmegiani l'œil écoute / dedans-dehors lp release date 04.09.2012 digital transfer: jonathan fitoussi cut by rashad becker at dubplates & mastering, berlin, june 2012 layout: stephen o'malley translations: valérie vivancos coordination grm: christian zanési & françois bonnet executive production: peter rehberg l'œil écoute (1970) from the very first moment, caught by the musical tone heard from inside a train, the trip offered by this piece, woven with different materials, triggers in us various climates able to give our imagination power over sounds: the power to guide them through our secret mazes rather than to blindly follow them like panurge. this form of (auditory) contemplation thus attempts to enable us to lose ourselves outside our far too familiar and usual territories. perhaps, in looking too hard, man eventually stops listening. and, as i said when creating the piece in 1970, the eye, now a "solitary wanderer" only has ears for what assaults it. dedans-dehors (1977) when listening to the sound material, we metamorphose the inside into an outside. this notion of metamorphosis is one of the principles that leads the course of the musical suite, reflecting changes (fluid-solid passages: water / ice / fire) or movements (ebb / flow / wave, inspiration / expiration) or inside-outside passages (door / individual / crowd). thus, the perceived object is not entirely what we would have liked it to be. our music brings us closer to some whilst it takes us away from others: each with their own inside. © 2012 recollection grm. released in association with editions mego courtesy of ina-grm.

emerald web “dragon wings and wizard tales” long playing record

• dragon rising
  
• flight of the raven
  
• twilightfirenight
  
• waterlust
  
• lifeforce celebration
  
  
• whispered vision
  
• loosing of the shadow
  
• the powerstone
  
• chasing the shadowbeast
  
• dawn

“staring into the sun: ethiopian tribal music” double long playing record set

• borana tribe - borana singing wells (3:33)
  
• konso tribe - konso lyre song (4:03)
  
• tsemay tribe - tsemay song (0:53)
  
• habesha 2000 band - habesha traditional song (2:21)
  
  
• dirashe tribe - dirashe syncopated panpipes (7:52)
  
• azmari - masinko song (4:09)
  
• dirashe tribe - dirashe drum song (3:29)
  
  
• mursi tribe - mursi song (3:55)
  
• dirashe tribe - dirashe lyre song (5:47)
  
• gedeo tribe - gedeo vocals (2:46)
  
• habesha 2000 band - habesha traditional song 2 (2:53)
  
  
• konso tribe - konso lyre & percussion song (4:12)
  
• dorze tribe - dorze song (4:12)
  
• gedeo tribe - gedeo percussion & lyre song (2:43)
  
• habesha 2000 band - habesha traditional song 3 (4:43)

sublime frequencies press release...

staring into the sun: ethiopian tribal music 2lp sf074 a contemporary survey of the tribal music of ethiopia. recorded in 2009 by olivia wyatt, this double lp showcases an array of mind-blowing sounds from the "land of eternal sunshine." presented in this visually stunning gatefold are audio examples ranging from remote tribes -- of the ethiopian highlands, the lower omo and the great rift valley -- to their electric analogues in the sweaty beerhalls of addis ababa. this collection features songs from the azmari, poet-musicians who play the krar (ancient lyre) and whose song repertoire includes everything from comic improvisation to lyrical elegiac, the borana whose work songs are a transcendental polyphonic singing that stops time, and the dirashe whose syncopated panpipes are as otherworldly as anything ever heard. other selections include music from the mursi, druze, gedeo, konso, and tsemay tribes as well as some fine examples of amplified roots music from the capital from the habesha 2000 band. this is a limited edition one-time pressing double lp housed in a gatefold full color tip-on sleeve with gorgeous polaroid shots from olivia wyatt.

oren ambarchi “audience of one” double long playing record set

• salt
  
  
• knots (1)
  
  
• knots (2)
  
  
• passage
  
• fractured mirror

touch press release...

to:83 | oren ambarchi "audience of one" cd - 4 tracks - 53:51 artwork & photography: jon wozencroft mastered by francois tetaz at moose, melbourne on "audience of one", oren ambarchi presents a four-part suite which moves from throbbing minimalism to expansive song-craft to ecstatic free-rock. his previous solo albums for touch exhibited a clear progression towards augmenting and embellishing his signature bass-heavy guitar tones with fragile acoustic instrumentation. audience of one, while also existing in clear continuity with these recordings, opens the next chapter. remarkable in its confidence and breadth, but also in the sensuous immediacy of its details, this is the first time a single record has come close to encapsulating ambarchi’s musical personality in its full range and singularity. the techniques and strategies developed in his refined improvisational work with keith rowe and his explorations of the outer limits of rock with sunn o))) and keiji haino are both in evidence, alongside the meticulous attention to detail and composition of his solo works. and on the cover of ace frehley’s ‘fractured mirror’ which closes the record, ambarchi even points to his roots as a classic rock fanatic, in an epic yet faithful version which extends the shimmering guitar patterns of the original into a rich field of phase patterns reminiscent of the classic american minimalism of reich and riley. the album features a multitude of collaborators, who, far from appearing in incidental roles, are integral to the pieces on which they perform: on ‘salt’, ambarchi paints a hypnotic, chiming backdrop for paul duncan’s (warm ghost) vocals, and joe talia’s virtuoso drumming and driving cymbals are at the core of the epic ‘knots’, in which ambarchi, alongside a chamber arrangement by eyvind kang, weaves a net of frequencies and textures with the organic push and pull of a 70s psych jam, the bass response of a doom metal ritual and the psycho-acoustic precision of an alvin lucier composition. on his previous records, ambarchi’s signature guitar tone was the ever-present bedrock over which other elements sounded. at moments on audience of one, this disappears entirely, as on the beautiful ‘passage’, which, recalling the 70’s italian non-academic minimalism of roberto cacciapaglia and giusto pio, is composed of overlapping tones from hammond organ and wine glasses, jessika kenney's voice, various acoustic instruments, and the delicate amplified textures of canadian sound-artist crys cole. rather than being provided by any particular sound, the unified feel of audience to one stems simply from the unique, patient sensibility ambarchi has developed over the last twenty years; abstracting musical forms into their barest forms, while somehow always managing to leave their emotive power intact. - francis plagne

outer space “outer space ii” long playing record

• i (0:58)
  
• 3332 (7:13)
  
• vanishing act (11:42)
  
• ii (2:56)
  
  
• liquid system functions (24:42)

blast first (petite) press release...

john elliott (of the group emeralds) is in outer space. he is sending signals back to us on earth. we will release these transmissions to the general public as soon as they have been decoded. john beamed a signal timed at 25-01-2012 @ 19:04 artwork by graham lambkin five tracks completed ; side a will feature a variety of more rhythmic and melodic stuff, while side b flexes my palette of electronic sounds from modular synthesizer. a side long concrete piece in homage to ilhan mimaroglu and tod dockstader john elliott & guest appearances by: andrew veres philip j. whiteside drew mcdowall jeff hatfield adam miller outer space "ii" follows "outer space" (released on arbor, 2010 - nyc). new personnel: andrew veres, philip whiteside, drew mcdowall, and adam miller. recurring personnel: jeff hatfield. produced with mellotron m-400 and synthesizer. ltd edition (1,000) deluxe mirror-board lp release date 23rd july 2012 "ii” is the logical progression. it is an effort based on group format, and is an evolution from the debut outer space album. the central core of elliott and veres worked to arrange, record, and mix for a new direction and a new sound; headed down a path of cracked concrete and dissolving memory from the aether. many different textures and composing methods are applied here to make a more varied and spontaneous array of songs. experiments ranging from looped, broken m-400, jagged rhythm beds, and modular synthesis. severing the obsessions of death and anxiety, and creating a work based on "the current" and those involved in the process, "ii" has a different feel with less claustrophobia and more breathable air. imagine the sounds are a liquid, with different masses and changing color. "ii" is first in a 12" trilogy of sounds to be released in 2012. it's considered to be the second full-length effort by the project. reality comes first here with a narrative of events that are real and happening right now. close attention to detail reveals more than what is seen at the surface. the information is presented clearly; it's up to the listener to use the intelligence provided for full comprehensive understanding.

“30 jahre inventionen vii” digital versatile disc and double compact disc set

• jonty harrison - beastory 2010 (8:09)
  
• daniel teruggi - sounding landscapes 2007 (18:06)
  
• hans tutschku - firmament - schlaflos 2010 (20:23)
  
• hans tutschku - zwei räume 2008 (21:04)
  
• francis dhomont - le travail du rêve 2008/09, 2010, 2011 (17:12)
  
• gilles gobeil - castalie 2008 (10:41)
  
• gilles gobeil - les lointains noirs et rouges 2009 (10:46)
  
• scott wilson - böse 2010 (9:06)
  
• kotoka suzuk - i automata - mechanical garden 2010 (8:34)
  
• hanna hartman - measures of control 2008 (8:01)
  
• richard barrett - simorgh 2010 (11:05)
  
• pei-yu shi - movements 2010 (3:55)
  
• kees tazelaar - zeitraum-ort-zeichen-sterne 2007 (19:41)
  
• trevor wishart - encounters in the republic of heaven, akt 1-4 2011 (75:00)
  
• iannis xenakis - bohor 1962 (21:31)
  
• sukhi kang - inventio - musicae clavichordii et sonorum artificiosorum 1984 (23:34)
  
• rolf enström - fractal (videofassung) 1984 (24:02)
  
  
• bogus aw schaeffer - berlin 80 ii (tonbandfassung) 1980 (13:18)
  
• ricardo mandolini - fabulas ii 1980 (10:25)
  
• takehito shimazu - zytoplasma 1980 (10:46)
  
• bogus aw schaeffer - maa'ts 1981 (9:49)
  
• rolf enström - fractal (tonbandfassung) 1984 (22:54)
  
  
• ricardo mandolini - estallido breve (tonbandfassung) 1980 (8:37)
  
• ricardo mandolini - juego de marionetas 1979/1980 (9:43)
  
• ricardo mandolini - el cuaderno del alquimista 1979 (9:27)
  
• ricardo mandolini - canción de madera y agua 1981 (8:27)
  
• ricardo mandolini - poema reiterado 1983 (10:51)
  
• ricardo mandolini - elogio de lo efímero 2004 (12:06)
  
• ricardo mandolini - el silencio de un trueno (ausschnitt) 2010 (11:49)

edition rz press release...

ed. rz 3006-8 2cd + dvd inventionen vii: 30 jahre inventionen 1982 - 2012 five hours of electroacoustical compositions, recorded during the first thirty years of the berlin festival "inventionen". box set with two audio cds and a dvd. total running time approx. 310 minutes

mirror to mirror “body moving slowly” compact disc

• body moving slowly (4:04)
  
• wooden head, feet, and seat (4:27)
  
• don't just yet (3:26)
  
• dream too hard (3:00)
  
• the store (3:36)
  
• take a day (2:53)
  
• sleep through school (4:05)
  
• burning life (1:57)
  
• drift apart (4:53)
  
• all people in my hand (4:41)
  
• who's left (1:18)
  
• push weight (5:20)

preservation press release...

mirror to mirror: body moving slowly the preservation label presents body moving slowly, the second full-length album from california’s mirror to mirror. mirror to mirror is los angeles resident alex twomey, who has quietly developed a raft of stunning pieces across several low-key works on his own jugular forest label, many approaching a ballad-like form in their beauty. his collaboration with matthew sullivan (earn) - 1958–2009 -became one of the more highly talked about projects of the past two years, one outing named as npr’s best cassette release of 2010. body moving slowly represents a major shift from twomey’s towering constructions of ambient synth cloudscapes, choosing to write and record with a variety of instrumental textures outside of the synthesiser. rippling waves of piano and harpsichord, enveloping keyboard clusters and subtle percussion cuts twomey’s style adrift from its once ominous realm without abandoning it altogether. with lusher details of ringing melody and intimate space, body moving slowly works between the neo-classical, ambient feel of the likes of harold budd and the ecstatic, orchestrated pop reverie of brian wilson from the beach boys. these vivid pieces are melancholic to their core though often burst with exhilarating feeling - a dynamic in scope that shapes this album’s life-reflecting push and pull. twomey’s emotional sweep remains dark and compelling on body moving slowly but moves into a more warm, open place – reflecting a special imagination that remains personal within a grand vision. body moving slowly is the third work in preservation’s limited edition series preservation called circa for 2012. only 300 copies of each release in the series will be available and will feature a design by mark gowing. each design is realised using an abstract alphabet that creates an interlocking grid, determined by artist and volume number for something both fixed, random and unified across the entire series. released on cd in july 2012. limited to 300 copies.

panabrite “the baroque atrium” compact disc

• one (2:18)
  
• two (4:53)
  
• three (6:55)
  
• four (3:26)
  
• five (3:35)
  
• six (17:31)
  
• seven (5:50)

preservation press release...

panabrite: the baroque atrium panabrite is the solo recording project for norm chambers, who over a short time has grown a catalogue of works showcasing a natural empathy for tapestries of sound that are eclectic, intricate and immediate all at once. marking new ground in pursuit of pre-digital synthesis, chambers’ work as panabrite is a shining light among those currently finding inspiration connecting sound exploration with the sensual, spiritual matter of nature pioneered by the 1970s work of such composers as alvin curran. though primarily working with synthesisers, chambers’ own compositional palette draws a broad reach, finding a pitch-perfect point between melody and experimentalism. the baroque atrium finds him expanding on his craft into freewheeling and airier territory, casting these flowing, extended pieces with a resonance that connects various strands of minimalism, prog, folk and new age music into exquisite, evolving patterns. named for a state of mind evoking an idyllic, peaceful place subtly underscored with a disarming feel of mystery, the baroque atrium is filled with rare unfiltered spirit. the baroque atrium is the third work in preservation’s limited edition cd series preservation called circa for 2012. only 300 copies of each release in the series will be available and will feature a design by mark gowing. each design realised using an abstract alphabet that creates an interlocking grid, determined by artist and volume number for something both fixed, random and unified across the entire series. released on cd in july 2012. limited to 300 copies.

“personal best #2 • fanzine for noise, music and no progress” magazine

• (84 pages, full color)

marhaug forlag press release...

personal best #2 the second issue of marhaug forlag's fanzine. 84 pages. all interviews. this time in colour. published july 2012. incapacitants ex1ensive interview with both mikawa and kosakai: the origins of the project, stories of drunken behaviour, and why progress is no good. complete with karaoke-breaks inbetween. attila csihar mayhem, sunn 0))) and tormentor vocalist on heavy metal bootlegging behind the iron curtain, playing dracula and how to breathe properly. maja s.k. ratkje norwegian singer/composer on proper protest: blasting your music at 130 db across a fjord. earth dylan carlson on what is rotten in seattle. phil blankenship pacrec / troniks / lhd-honcho and southern californian noise guru talks about the horror of covering an entire red hot chili peppers album. damage digital misa moronaga on being a singer in a japanese grindcore band and her hardships. fns fredrik ness sevendal’s existence is norway’s best kept secret. here is the first interview with this enigmatic folk / drone / lofi guitarist. vanhala finland’s new noise wizard sits down with personal best for serious tea talk. katsura mauri japanese turntablist explains how she’s able to eat vinyl. don dietrich borbetomagus / the new monuments’ axeman on the first fan mail, using pedals on the sax and deep sea fishing.

lesser “elder bits” c60 cassette

• elder bits (1) (30:00)
  
  
• elder bits (2) (30:00)

no label press release...

peter brötzmann / harry miller / louis moholo “the nearer the bone, the sweeter the meat” long playing record

• long time service
  
• kucken und drücken
  
  
• the nearer the bone, the sweeter the meat
  
• schnell im biss

peter brötzmann / han bennink “schwarzwaldfahrt” long playing record

• aufen (1)
  
• aufen (2)
  
• aufen (3)
  
• aufen (4)
  
• aufen (5)
  
  
• schwarzenbachtalsperre (1)
  
• schwarzenbachtalsperre (2)
  
• schwarzenbachtalsperre (3)
  
• schwarzenbachtalsperre (4)
  
• schwarzenbachtalsperre (5)

jon mueller / james plotkin “terminal velocity” double long playing record set

• vestibular apparatus
  
• hypnagogia
  
  
• eigenlicht
  
• anthypnic
  
• praedormitium
  
  
• subvocal
  
  
• microsleep

taiga press release...

jon mueller and james plotkin first combined forces on physical changes, scorching the leading lp side of mueller's 2009 multi-format collaborative investigation. forging mueller's blistering percussion and rolling hills of drums with plotkin's searing guitar and melting electronics, a sturdy alloy was formed. when both musicians were asked to perform at the utech records music festival in june 2011, at which they appeared as a duo, the pair spent the proceeding days spontaneously unfurling terminal velocity. recorded in rural wisconsin just outside of mueller's native milwaukee, terminal velocity is an effort of concentration. on the brink of implosion, the duo reduces dense washes of percussion and guitar to thick crusts, at times deceivingly with a whispered intensity. sizzling drums meet electronic warbles as two great forces restrain each other to a constant speed. mastered by plotkin, cut direct to metal and pressed on 200 gram virgin vinyl, terminal velocity is presented in an edition of 500 copies. packaged in a heavy stoughton tip-on gatefold, the jacket is hand-numbered on the spine and features a textured paper to enhance karlynn holland's graphite drawings the album accompanies.

bruno spoerri / betha sarasin “ax+by+cz+d=0 • kunst am computer” long playing record

• fragen an den computer
  
• klangparabel
  
• feder und blech
  
• trompe l'oreille
  
• improvisation für lyricon 1
  
  
• improvisationen für lyricon 2
  
• intervalle
  
• skulpturenklänge
  
• for papa (im andenken an den afrikanischen musiker papa oyeah makenzie)

mika vainio / kevin drumm / axel dörner / lucio capece “venexia” long playing record

• venexia (1) (19:51)
  
  
• venexia (2) (22:58)

pan press release...

mika vainio / kevin drumm / axel dörner / lucio capece 'venexia' (pan 28) the original idea of this project was to allow musicians from different scenes (but who shared common ideas) to work together. in this case, a development of two pre existent duos. quite often musicians from different sonic languages can be seen being put together, trying to push the artists to develop unexpected works. vainio, drumm, dörner and capece have mainly strong points in common, that have been executed in different contexts. the music map is generally divided into categories that are determined by it's most evident and often banal elements; if it has beats or not, if it is quiet or loud, if it has raw material or a carefully worked aesthetic. these four musicians have been working using all the previous elements, but these elements did not determine the music, they were used at the service of deeper ideas related to time and perception. how the sound of our environment can become music, how can music be attractive without telling a story, the work of sound in it's extreme: noise, granular and delicate, digital, electronic, instrumental extended techniques, preparations. kevin drumm and axel dörner started working together in the late 90's as part of a trio with paul lovens, as a duo they released an influential album on erstwhile records. vainio and drumm met in 2005 in australia, both as part of the touring festival what is music?. even if both musicians declared to have a great time touring in australia, they did never played together. drumm's and vainio's music is often compared by critics. capece has released a duo cd on l'innomable label with axel dörner and a trio one with dörner and tubist robin hayward on azul discográfica label from new york. dörner and capece worked in several projects together, including a residence with keith rowe working on " treatise" by cornelius cardew. mika vainio and lucio capece have released together the album "trahnie". an album they worked for three years on, and also did several concerts as a duo. in may 2008 the quartet made a 6 days residency and concert at vooruit, in gent, followed by a 5 concert european tour, that took them to venice. in 2011 the group played at konfrontationen festival in austria. in the meanwhile capece and vainio have been part of the vladislav delay quartet. capece has played, and toured with kevin drumm in a trio with radu malfatti and dörner has played with drumm in a trio with paul lovens, at the meteo festival, in france. the recording in venice is a multitrack one. it was mixed by capece with minimal edits, basically panning and volume adjustments. the lp is mastered and cut by rashad becker at d&m, pressed on 140g vinyl and comes in a poly-lined inner sleeve. it is packaged in a pro-press color jacket which itself is housed in a silkscreened pvc sleeve with photos by traianos pakioufakis & artwork by kathryn politis & bill kouligas.

masahiko satoh / soundbreakers “amalgamation” long playing record

• amalgamation i (15:44)
  
  
• amalgamation ii (21:17)

phoenix press release...

ash 3040lp masahiko satoh & soundbreakers amalgamation phoenix records (uk) lp reissue of this legendary album from 1970 featuring hiro yanagida, kimio mizutani, mototeru takagi. number seven on the japrocksampler top 50. divine excessive jazz-rock stylings by this batch of period-visionaries presumably recorded sometime in 1970 by rudy van gelder and creed taylor at the toshiba records 1st studio. all of that "real" psychedelic goo gets smeared about quite a bit; acoustic string flap and electric gonzo-muff battle overdriven organ lines played by said masahiko and his band of western pickups (louis haynes on drums, jochen staudt on bass). furious jamming is meshed with some fine sub-george russell 3rd-stream string / brass writhing and found-sound tape-spatter (machine guns, war-speak). housed in a gatefold sleeve; on 180 gram vinyl.

toshi ichiyanagi / michael ranta / takehisa kosugi “improvisation sep. 1975” long playing record

• improvisation sep. 1975 • part. 1 (21:34)
  
  
• improvisation sep. 1975 • part. 2 (23:19)

phoenix press release...

ash 3032lp toshi ichiyanagi / michael ranta / takehisa kosugi improvisation sep. 1975 phoenix records (uk)lp lp version. originally released on the iskra label in 1975, improvisation sep. 1975 is a mind-bending slice of drone improv from two of japan's post-war heavyweights; former john cage student, juilliard graduate, and yoko ono's former husband, toshi ichiyanagi, takehisa kosugi, considered by many to be the father of what some called "japanese krautrock," and stockhausen percussionist, michael ranta. heavy layers of reverbed ring modulators, threaded vocals, melodicas, pianos, violins, gongs and japanese biwas and shamisens combine to elevate the improvisations into the region of krautrock and in particular, courtesy of ranta, into post-stockhausen-inspired rock à la amon düül. an extremely rare and highly important album which bridges the gap between the likes of taj mahal travellers and industrial giants nurse with wound. on 180 gram vinyl. includes a japanese lyric sheet insert.

carlfriedrich claus / harmut geerken “einem luftigen akustischen kosmos entgegen” compact disc

• einem luftigen akustischen kosmos entgegen (60:33)

rumpsti pumsti (edition) press release...

carlfriedrich claus & hartmut geerken - einem luftigen akustischen kosmos entgegen rumpsti pumsti (edition) nummer 12 edition of 300 copies comes with 12-page booklet including a text by hartmut geerken (german only) collaboration performance by these two infamous german visual artists & sound-poets, recorded at lyrik-kabinett münchen, june 1991. this is carlfriedrich claus' only sound-collaboration ever. both artists prepared a 60-minute backing-tape and wrote a detailed score for live-performed poetry and voice-operations. in addition to these fixed compositions they left room for spontaneous improvisation and the use of small cymbals ('tschinkas'). this is like nothing else. very serious, raw and quite unsettling. between the early 1950s and his death in 1998, carlfriedrich claus (born 1930) produced a corpus of work that occupies terrain somewhere between philosophy, art, linguistics and acoustic literature. both visually with his language sheets and acoustically with his language operations, he plumbed and explored the depths of human consciousness, making a wholly individual contribution to the art of the 20th century in doing so. these sound processes and language operations have a consistency and radicalism unacknowledged hitherto. hartmut geerken (born 1939) is an author, composer, musician, film-maker, performer, actor, mycologist, archivist, stager of exhibitions, publisher of numerous authors from the circle of literary expressionism and dada, lumberjack, and bumble-bee-keeper. as a percussionist, he has collaborated with a variety of free jazz musicians such as sun ra, john tchicai, sainkho namtchylak. as a poet, he is a practitioner of concrete poetry and organizes events such as the annual bielefeld new poetry colloquium. as an actor, he appeared in six films by herbert achternbusch and appeared in two of achternbusch's plays at the munich kammerspiele.

andrew pekler “ex tempo ra b/w encounter in the resonant void” seven inch single record

• ex tempo ra
  
  
• encounter in the resonant void

paul & maurey “satellite” long playing record

• i'm lying
  
• fly me away
  
• exit two
  
• no other
  
• why ohio
  
  
• yawn, dont yell
  
• xl
  
• summertime
  
• drum song
  
• away now

rel press release...

paul & maurey - satellite - rel019 edition of 340 paul and maurey is the duo of ashley paul and sakiko mori. 'satellite', is an extended album with new and unreleased material, based off the micro edition cassette released on wagtail in late 2010 that sold out in an instant. this version reveals their expansive, open ended and dynamic approach, combining ashley's intuitive writing and vocals, with their propulsive and multi-layered rhythms, clatter and dynamics from the ensemble sound. both performing on a wide range of instruments - sakiko on keyboards, percussion, harmonium and ashley on guitar, green box, reeds and even tuba. these two play multiple instruments at once and often switching in the middle of songs. together they create a unique world of small scale / micro-sounds and non-musical gestures, somehow fitting this all within a song structure that really needs to be heard to be understood. in doing this, paul & maurey make something oddly beautiful out of the rawest material. satellite is an lp edition, printed on clear vinyl, pink labels, with black matter inner in a custom, hand painted and silk screened jacket, in a limited edition of 340 copies.

stephan eicher “spielt noise boys” long playing record

• disco mania (4:02)
  
• miniminiminiminijupe (3:06)
  
• noise boys song (2:17)
  
  
• hungriges afrika (2:56)
  
• one second too late (1:18)
  
• sweet jane (2:28)
  
• ping pong lied (1:21)

born bad press release...

electro 80's minimal punk at his best think grauzone meet daf meet suicide stephan eicher recorded the tracks from spielt noise boys on a dictaphone with stolen material in the bar he worked in bern when he was student in (swiss) he produced 6 month later the absolut hit "eisbar" with grauzone. available both cd/ lp legal reissue cool insert both in french and english re-mastered by stephan eicher himself - sound loud !