kenichi kanazawa “experimental music of japan vol.10 • solo performance” compact disc

• starting by vibratile shape - circle and square. (7:35)
  
• improvisation on oto no kakera 5 object. (7:31)
  
• i emphasized specific frequencies of sound through bamboo pipe and i sounded by falling and rolling various materials on oto no kakera. (7:03)
  
• steel wire vibration on vibratile shape - square. (6:14)
  
• rubbing an iron piece by iron bar. (2:27)
  
• high tone by hummer attack on iron piece. (1:46)
  
• preparation effect by various materials on oto no kakera. (3:48)

edition omega point experimental music of japan press release...

kenichi kanazawa "solo performance" cd omega point opx-010 kenichi kanazawa is a sculptor. he cuts and assembles thick iron plate pieces, and also he remarked the sound of the iron pieces. this cd is live recording of performance at his recent retrospective exhibition in 2011. oto no kakera (= fragments of sound) was laid by clue that i participated in an exhibition 'sound garden' in 1987. an idea occurred for the work of the exhibition. i cut thick steel plate as like pieces of jigsaw puzzle on theme of relationship of iron, figure and sound. i attacked the pieces by sticks, and then i experienced listening their sounds first. various pitches, tones and resonances of sounds were made from area and shape of each pieces. they extended world of iron sound richly. in the 'sound garden' exhibition, artists had to do any performance. i believe it was beginning of oto no kakera performance. this cd is recording of performance in exhibition ‘kenichi kanazawa, iron as a starting point 1982-2011’

kenichi kanazawa / shinjiro yamaguchi / hiroyuki ura “experimental music of japan vol.9 • fragments of sound, figure of music” compact disc

• solo performance used self-made steel triangle instrument by kanazawa. (5:36)
  
• each player plays sound 1 time at first 1 minute, plays 2 times at next 2 minutes, and it's continued until 12 minutes. (12:38)
  
• performance used five kinds of plate sculptures. they performed on the rule that each 2 members must not play in same time. (6:06)
  
• drumming and rubbing of oto no kakera 9 with electronic noise. (1:36)
  
• solo performance by oto no kakera 9. (4:10)
  
• drone sound performance used vibratile shape - circle 1200 and vibratile shape - square 1200. (4:25)
  
• improvisation used oto no kakera 9 determined to finish with succession attack by all players. (8:27)

edition omega point experimental music of japan press release...

kenichi kanazawa, shinjiro yamaguchi, hiroyuki ura "fragments of sound, figure of music" cd omega point opx-009 kenichi kanazawa is a sculptor. he cuts and assembles thick iron plate pieces, and also he remarked the sound of the iron pieces. this cd is live recording of performance with young musicians. exhibition "oto no kakera (= fragments of sound) and workshop" was held by me and kawagoe city museum between 2006 and 2010. at the fifth and final exhibition, i did workshop and performance with hiroyuki ura and shinjiro yamaguchi. this performance consisted of some fragments, and yamaguchi planned detail of them. according to his explanation, he tried to catch invisible figure of music through composition by simple rule and style.

ensemble skalectrik “trainwrekz” long playing record

• wrekwahn
  
• wrektoo
  
• wrekfree
  
  
• wrekfore
  
• wreksank
  
• wreksikz (for louis johnstone)

evol “proper headshrinker” long playing record

• proper headshrinker 1 (3:00)
  
• proper headshrinker 2 (3:00)
  
• proper headshrinker 3 (3:00)
  
• proper headshrinker 4 (3:00)
  
• proper headshrinker 5 (3:00)
  
  
• proper headshrinker 6 (3:00)
  
• proper headshrinker 7 (3:00)
  
• proper headshrinker 8 (3:00)
  
• proper headshrinker 9 (3:00)
  
• proper headshrinker 10 (3:00)

locust “you'll be safe forever” compact disc

• fall for me (4:37)
  
• i hear a quiet voice (0:28)
  
• strobes (4:37)
  
• the worn gift (1:39)
  
• just want you (4:16)
  
• remember (1:35)
  
• oh yeah (2:23)
  
• do not fear (5:05)
  
• more like prayer than science (2:22)
  
• the washer woman (4:59)
  
• the flower lady (3:20)
  
• subie (3:38)
  
• corporal genesis (6:59)

editions mego press release...

emego 162 / locust you'll be safe forever cd release date 01.04.2013 all titles composed, produced & performed by louis sherman & mark van hoen voices by jennifer restivo & found sources recorded at woodstock electric ny 2012 front cover: amanda charchian design: stephen o’malley you'll be safe forever marks the first release from locust in 12 years. mark van hoen, who made a string of influential releases as locust on r&s records in the 1990’s, all but retired the alias at the end of that decade. in may 2012, van hoen was invited to perform a live set on wfmu radio. in order to make the set more spontaneous and add a further dimension, he asked friend and fellow musician louis sherman to collaborate. while improvising new material in sherman’s brooklyn rehearsal studio, it swiftly became obvious that the material sounded like locust. inspired by joint explorations with found sound sources and ambient textures, and sharing a pan-dimensional immersion in the length and breadth of analogue and digital recording, the duo performed a series of tracks live. this material, combined with previously recorded tape tracks dating back to 2006 form the bulk of the album. the melancholic depths of electronic music explored in those improvisations, expanded further through subsequent sessions at van hoen’s woodstock, ny studio, have resulted in this latest entry in locust’s impressive discography. the record showcases prime examples of van hoen's compulsively hypnotic beats and abstracted pop vocals—already hallmarks of his collected work since 1993—manipulating a global variety of samples in celemony’s melodyne software to weave a unique sonic tapestry, as inviting as it is intricate. paired with sherman's evocative synth improvisations—an immediately visceral element new to locust — these collaborators have crafted a shattered landscape that bridges two persectives of progressive movement in electronic music under a single name. sherman, an american from baltimore, comes to the band armed with a vast knowledge of the history of electronic music. this, combined with londoner mark van hoen’s known musical pedigree maps the complete topography of a landscpape — its shadow and light, depth and height, mesmerizing complexity and ethereal simplicity — with a break-beating heart and alchemical ear.

main “ablation” compact disc

• i (10:04)
  
• ii (13:03)
  
• iii (13:54)
  
• iv (9:03)

editions mego press release...

emego 160 / main ablation cd release date 15.04.2013 recorded at thirst, grm studio 116b and schwebung mixed at thirst robert hampson: analogue electronics, concrète sounds, guitar, piano-treatments stephan mathieu: farfisa vip 233, ebowed phonoharp, radio, percussion-treatment frames by grebo gray layout by david coppenhall cut and mastered by rashad becker @ dubplates and mastering there has been a recent surge in activity from robert hampson, with all manner of solo recordings and performances popping up. its only logical that he reactivates his beloved main project. as we all know, main laid the foundations during the 1990s for much of love of abstract guitar treatments in electronic music throughout the 2000s. hampson has teamed up with stephan mathieu to create a stunning new album. on ‘ablation’, mathieu adds extra tonal colour and an obscure rhythmic palette to hampson’s exacting treatments and detailed use of layered concrète sounds to create an emotionally charged and fascinating work. old fans of main will not be disappointed, and neither will new followers of experimental audio. packaged with images by grebo gray with layout by dave coppenhall, and expertly mastered and cut by rashad becker, ‘ablation’ is a highlight for the spring 2013 season.

roland p. young “mystiphonic” long playing record

• thankfully (5:39)
  
• caress (5:39)
  
• envelope (5:39)
  
• montage (5:22)
  
• extension (5:26)
  
• myst (6:00)
  
• coast (4:18)
  
• rolling (6:20)
  
• motif of (4:26)

“the conet project • recordings of shortwave numbers stations, tcp/1111” quintuple compact disc set

• (g2a) the swedish rhapsody
  
• (g5) counting
  
• (e14) counting 'control'
  
• (e10) phonetic alphabet - nato
  
• (g13) 5 dashes
  
• (e3) the lincolnshire poacher
  
• (g3) gong station / chimes
  
• (g14) dfd 21
  
• (e1) ready ready (15728)
  
• (s2b) bugle
  
• (s10) 5 note version 'czech lady'
  
• (g4) three note oddity
  
• (v13) new star broadcasting
  
• (v5a) counting station (spanish)
  
• (e17) english lady / 00000 ending
  
• (v2) attencion / 3 finals
  
• (g8) 4 note rising scale
  
• (v1) ciocîrlia
  
• (s10) czech lady
  
• (g16) 2 letter 'ys'
  
• (g16) 2 letter 'el'
  
• (g13) 5 dashes
  
• (e16) 2 letter 'rk'
  
  
• (v12) nnn
  
• (g11) 'strich'
  
• (g14) dfd21 / dfc37
  
• (s2) drums & trumpets
  
• (e12) nnn
  
• (e17) english lady - 00000 ending
  
• (g12) nnn
  
• (s6) the russian man ('d-va' northern russian voice)
  
• (e10a) phonetic alphabet - nato
  
• (v6) spanish lady
  
• (e11) 'strich'
  
• (g16) 2 letter 'nu'
  
• (g11) 'strich'
  
• (s8) yt
  
• (e13) 5 dashes
  
• (g19) german man
  
• (e6) english man
  
• (s7/g7) english man + german lady
  
• (g6) german lady
  
• (v) chinese numbers
  
• (v6) spanish lady
  
• (e16) 2 letter 'md'
  
• (e6) english man
  
• (g6) german lady
  
• (e10a) phonetic alphabet - nato
  
• (e10) phonetic alphabet - nato
  
• (e15) nancy adam susan
  
• (e14) counting 'control'
  
• (e15) nancy adam susan (male voice)
  
• (e4) cherry ripe
  
• (s21) russian lady
  
• (s6) russian man
  
• (e12) nnn
  
• (e15) frank young peter
  
• (s12) cherta
  
• (s14) russian counting man
  
• (s16) olx
  
• (x6) 6 tones
  
• (xph) high pitch polytone
  
• (xph) high pitch polytone
  
• (xph) high pitch polytone
  
• (xph) high pitch polytone
  
• (v9) oriental language
  
  
• (e1) ready ready
  
• (e3) iran / iraq jamming efficacy testing
  
• (e5) english lady
  
• (e5) english lady
  
• (e6) english man version 1
  
• (e6) english man version 3
  
• (e6) english man
  
• (e9) magnetic fields
  
• (e9) magnetic fields
  
• (e11) oblique
  
• (e12) nnn
  
• (e13) 5 dashes
  
• (e16) 2 letter 'kg'
  
• (e21a) 4 figure counting (10 rough tones)
  
• (e17a) 2 voices in one transmission
  
• (g1) tyrolean music station
  
• (g4) 3 note i.s.
  
• (g5) 10 rough tones
  
• (g7) achtung!
  
• (g8) 'a'
  
• (g8) voice sample (1-10)
  
• (g8b) rapid dots
  
• (g11) strich
  
• (g14) hier ist dfc seben und dreizig
  
• (g15) 2 letter 'pn'
  
• (g16) sample count
  
• (g16) 2 letter 'vo'
  
• (g16) 2 letter 'hk'
  
• (g16) 2 letter 'dm'
  
• (g18) 8 note rising scale
  
• (g20) spruchnummer 1
  
• (g20) spruchnummer 4
  
• (g21) random pop
  
• (g22) nomer 101
  
• (s3) okno okno okno
  
• (s4) nomer 198
  
• (s5) 723 papaqui
  
• (s6) 298
  
• (s6) 815
  
• (s6e) 167
  
• (s7c) moscow coup attempt
  
  
• (s7) russian man complete
  
• (s8) yt
  
• (s10a) 555 konec
  
• (s11) preska
  
• (s12) cherta
  
• (s13) count in russian
  
• (s13) count in russian
  
• (s14) 1-10 announcement
  
• (s14) 1-10 announcement
  
• (s) counting in polish
  
• (s17a) konec konec
  
• (s19) pozor
  
• (s21) russian lady test count and message
  
• (s25) russian man
  
• (v2a) spanish lady (2 finals)
  
• (v5) spanish counting
  
• (v5a) spanish counting
  
• (v7) spanish man
  
• (v6) spanish lady
  
• (v6) spanish lady
  
• (v8) eastern music station
  
• (v8) eastern music station
  
• (v) unidentified chinese station
  
• (v12) nnn
  
• (v18) nnn
  
• (v19) whiskey tango veinte y uno
  
• (xc) the crackle
  
• (xm) the backwards music station
  
• (xf) faders
  
• (xw) workshop
  
• (xx) the pip
  
• (xb) the buzzer
  
• (m1) m1 (197)
  
• (m1b) m1b (463)
  
• (m2) m2 (712)
  
• (m3) m3
  
• (m3) m3
  
• (m3) m3
  
• (m3) m3
  
• (m3) m3
  
• (m3) m3
  
• (m3a) m3a
  
• (m3b) m3b
  
  
• data bursts, 5.201khz (usb and am)
  
• exotic cipher, 6.215khz/am october 5th, 2008 19:27 gmt
  
• descending jammer, 7.969khz/usb
  
• drone, 17.964khz
  
• odd clacking, 4.039khz (usb and am), april 29th, 1998
  
• bizzare data noise
  
• chiming
  
• chopper
  
• coarse rushing air
  
• oscillating, 5.178khz, march 12th, 1997
  
• 348|10|13|36|19|21, 11.573khz, 19:37 gmt
  
• creeping
  
• rapid descending tri-tone
  
• engine room drone
  
• pinking
  
• rushing air sound, 11.492khz
  
• 'snudering'
  
• down up tone
  
• choking
  
• galactic
  
• sweeping noise, 9.330khz/usb
  
• strange echoing pips, 11.216khz/usb
  
• bubble jammer
  
• deep nuclear drone
  
• drone b
  
• insane, 7.074khz/am, december 8th, 18:20gmt

irdial press release...

irdial announces the release of “the conet project: recordings of shortwave numbers stations, tcp/1111": special 5cd edition. this will be a limited edition package containing: 1. the original 4 conet project cds in their own quadruple jewel case. 2. three black-and-white postcards. 3. one full-color postcard. 4. the extended 80-page booklet in its own jewel-case. 5. the new 5th cd in its own jewel case with its own new full-color booklet. the conet project is one of the most influential and important collections of recordings ever released to the public. its original release in 1997 was unprecedented and completely unexpected. no one had heard of "numbers stations" before the conet project, and its release baffled everyone who heard it. but it struck a chord. the unique sonic qualities and astonishing variety of the conet project's recordings, combined with the clandestine origin of numbers stations and the meticulous research in the accompanying booklet combined to form a release that resonated strongly with people from a wide variety of backgrounds. now 15 years later, irdial-discs is re-releasing this ground-breaking and legendary work in a new updated edition, featuring a fifth disc containing a set of 26 carefully selected examples of shortwave "noise stations" sourced from the private tape archive of akin fernandez, the conet project's creator. if shortwave radio transmissions were nested like a matroska, the outermost doll would comprise the ordinary government-licensed broadcasts that transmit propaganda and music. next down would be the licensed hams and utility stations used by shipping, weather and hobbyists. then come the numbers stations; the unlicensed and unacknowledged communications from government agencies to spies in the field. innermost of all of these are the completely abstract "noise stations" that have no point of human reference, other than that they can be heard. these noise stations sometimes consist of irregular and rare data-modes, and as such can be put into a context, but in other instances, noise stations have no plausible explanation at all. some are clearly being transmitted because there is a carrier wave and are not natural earth or space noises, but the content of the signal is without any obvious utility. for example, we present a recording that consists only of a loosely rhythmic "clacking" sound, that is similar to a man playing claves. when live on air, this broadcast went on for hours without interruption, only to suddenly cease without any discernible message of any kind. another example is track no. 2, for which we have no explanation. it was only heard once, went on without interruption for at least three days, and then disappeared. it appears to be a highly complex encrypted data mode of some kind, but is unlike any sound normally associated with data modes. a true mystery. as is the case with numbers stations, it is very unlikely that some of the more odd noise station examples on disc five of the conet project will ever have a good explanation provided to the public. this is to be expected. after 15 years, the numbers station mystery has barely unraveled, save for some isolated glimpses into the mechanics of their operation. irdial is privileged to be able to present one such rare and extraordinary revelation with "tcp/1111" which can be seen in the booklet of disc five. irdial has obtained photographs of an actual numbers station voice machine, as was used in many of the former communist block countries. this event is without precedent. somehow, a german man managed to buy a set of these voice generators, and irdial has obtained photographs from him of the outside and inside of one of these machines. this machine's function is to play sampled voices under the control of a 7-bit ascii punched paper tape. it is made of widely-available commodity electronic components, and the manufacturer's name does not appear on the casing; only two serial numbers "3 2620" and "nr.8515" and a handwritten "x1.85" appear on the back of an access panel, with english lettering indicating the rear connector functions. the emergence of this machine raises many questions. who designed and manufactured it? who sold it? why were these machines not destroyed after the decommissioning of the stations? and of course, this is only a tiny fraction of the larger picture. numbers stations and noise stations are a problem and a phenomenon that is ongoing, and that will continue to perplex and fascinate listeners and the curious for decades to come.

sean mccann “prelusion” long playing record

• our silhouette
  
  
• port
  
• have i forgotten?

richard youngs “core to the brave” long playing record

• sweet field of life
  
• the sea of providence
  
• we are the messengers
  
• forever hills of everyday
  
  
• sun bounty
  
• open ray
  
• the healing of everyone

maggi payne “ahh-ahh • music for ed tannenbaum's technological feets 1984-1987” long playing record

• flights of fancy
  
• gamelan
  
• shimmer
  
• back to forth
  
  
• ahh-ahh (ver 2.1)
  
• hikari

vestals “forever falling toward the sky” long playing record

• forever falling
  
• into night
  
• between worlds
  
  
• of ripples
  
• in waking dreams

golden retriever “light cones” long playing record

• light cones
  
  
• observer

duane pitre “origin” compact disc

• mvmnt i. sun am
  
• mvmnt ii. the carpenter
  
• mvmnt iii. yahweh
  
• mvmnt iv. koan
  
• mvmnt v. sun pm

hisato higuchi / zelienople “tsuki no seika • volume four” seven inch single record

• hisato higuchi - untitled
  
  
• zelienople - hold the strays

charlemagne palestine / z’ev “rubhitbangklanghear rubhitbangklangear” long playing record

• duo c/z #1
  
  
• duo c/z #2
  
• solo c #1

charlemagne palestine / z’ev “rubhitbangklanghear rubhitbangklangear” double compact disc set

• duo c/z #1 (18:26)
  
• duo c/z #2 (13:44)
  
• duo c/z #3 (8:32)
  
  
• solo c #1 (7:37)
  
• solo z #1 (15:15)
  
• solo z #2 (46:09)

sub rosa press release...

charlemagne palestine + z'ev rubhitbangklanghear rubhitbangklangear sr340 / 2cd 8 pages digipack charlemagne palestine / carillon z'ev / all percussions second time in 20 years palestine and z'ev are performing together. first time they're recording it ! unreleased material from charlemagne's lair, a place now called charleworld, where both fellows spent 3 days in june 2010. part of our sub rosa / laboratoire central sessions. i first started to play the bells while at high school of music + art in the sixties at st. thomas church across the street from the museum of modern art in manhattan !! i played everyday for years !! in the eighties i met z'ev in amsterdam !! i'd known him for 20 years before he suggested one day that we perform together, which we did at lem barcelona in 2007 !! later after seeing and hearing the carillon at my studio in brussels he suggested that we perform and record together there, which we did in 2010 !! here's / hearsz what we did !!!! - charlemagne palestine

colin potter “the fights of the sound cable” cassette

• melodious thunk
  
  
• articulate

the tapeworm press release...

ttw#55 – colin potter – the fights of the sound cable cassette only – limited edition of 175 copies illustration – savx melodious thunk recorded in 2012 at ic studio, which is now in london. articulate was recorded live at ic studio quite a while ago, when it was in preston. so, things have gone full circle … potter’s first cassette was released in 1980 and here we are around thirty-three and a third years later, observing the release of another cassette. the intervening period has seen a number of developments. the icr label was inaugurated and still continues today, having released over 70 cassettes, records & cds. ic studio was established soon after and has been operated by potter (almost) continuously since the early 80s, at a number of locations. there, potter has recorded, mixed and produced a wide array of projects. he has gained a reputation for innovative mixing and sound processing, working with artists such as current 93, fovea hex, ora, organum, monos, andrew chalk, jonathan coleclough, paul bradley, darren tate and, most notably, with steven stapleton on many albums by the renowned nurse with wound. several solo works have been released, as well as many collaborations. for reasons best known to himself, he decided to try his hand at live performance and is astonished to be still allowed to do so. the second side of the cassette is actually a recording of a rehearsal for such an event and is documented, if only to prove that he does in fact actually plan ahead for these things. the first side is an exercise in mathematical repetition patterns, by someone whose counting is somewhat dubious.

ray gallon “nam june paik • a work for radio” cassette

• nam june paik • a work for radio (1)
  
  
• nam june paik • a work for radio (2)

the tapeworm press release...

ttw#53 – ray gallon – nam june paik – a work for radio cassette only – limited edition of 250 copies this hour-long compositional documentary was produced for the cbc radio series “signature,” and was originally broadcast on april 28, 1979. it was nominated for an actra award for best radio documentary of the year. it is the result of a remarkable creative collaboration by artists such as john cage, charlotte moorman, philip corner, and nam june paik himself with the author. interspersed throughout the portrait are audio realisations by ray gallon of conceptual works by nam june paik. thanks also to lorne tulk for remarkable engineering and creative contributions, and to digby peers for the courage to broadcast it. author and producer: ray gallon. mix engineer: lorne tulk. additional technical assistance: john hollinger. narration: ray gallon, russ germain. series producer: digby peers. biography: ray gallon has been a communicator for over 40 years, half of that time as a radio producer and audio artist. although he had a classical music education, ray gravitated early towards the avant-garde, and was fascinated by musique concrète, electronic music, so-called progressive jazz, and the multitrack experiments of the rock revolution in the sixties. his first exposure, on television, to the work of john cage came very close to the moment when he wandered into a cinema by chance, and saw fellini’s 8 1/2. the one-two punch of these experiences left him delirious for the rest of his life. ray studied theatre design at the university of alberta, and helped found theatre 3, edmonton’s second professional theatre company. he worked for many years in toronto as a lighting and sound designer for theatre and performance art. as a radio producer he has worked in almost every department at cbc radio except hard news. he was nurtured by glenn gould’s experiments with “compositional documentaries,” and developed his own style, inspired by gould’s work. in 1980 ray moved from toronto to new york and joined with julia lee prospero and brian flahive to form the airworks group. together, they produced innovative documentary and radio art programmes for npr in the u.s. and for independent public radio distribution, most notably the airworks series of original commissioned works for radio in different disciplines. ray joined the staff of public radio station wnyc in new york as a producer, and eventually became the station’s programme manager, guiding a programme schedule built around the creativity of 20th century music, art, and drama. in the late 80s ray’s focus turned towards new media, communications art, and computers. after moving to france in 1992, he continued to produce audio art and radio while teaching courses in new media and working as a technical communicator. ray is currently a researcher with the transformation society, and shares his life between barcelona, spain, and the languedoc region of france.

herbert eimert “epitaph für aikichi kuboyama • sechs studien” compact disc

• epitaph für aikichi kuboyama für sprecher und sprachklänge (23:29) 1957-1962
  
• sechs studien (17:53) 1962

wergo press release...

epitaph für aikichi kuboyama / sechs studien studio reihe cd composer: herbert eimert translator: guenther anders interpreter: leopold von knobelsdorff booklet writer: herbert eimert speaker: richard münch günther anders: translation of the epitaph richard münch: speaker studio für elektronische musik im westdeutschen rundfunk köln leopold von knobelsdorff: sound realisation order number: wer 67732 with “studio reihe neuer musik”, wergo created a trademark of advanced contemporary music in the sixties of the past century already. wergo now releases these highlights of 20th-century music history in an excellent sound quality on cd for the first time. “studio reihe” now continues with works by herbert eimert: in view of recent events, especially in japan, herbert eimert's piece “epitaph für aikichi kuboyama” has taken on a sad topicality today: when in 1954 the first hydrogen bomb, the so-called bikini bomb, was tested in the south pacific, the japanese fishing boat fikuryumara was approximately 130 km from the epicentre. all fishermen on board required months of medical treatment; the fisherman aikichi kuboyama died of radiation poisoning after five months and became the first long-distance fatality of the nuclear age. the poetic epitaph for kuboyama, or more precisely the sound material drawn from the inscription spoken in german, forms the basis of the present tape composition: “of all the sound spectra known to us, that of the spoken word is not only the richest and most complex, but also the one most similar to electronically produced sounds.” (eimert) by using electronic equipment such as loudspeakers, tape recorders, amplifiers, and filters the stream of spoken words is always present under the surface as though the inscription on the gravestone constantly flows past the listener’s ears in ever-shifting transformations of sound. eimert’s “sechs studien” [six studies], composed immediately after “epitaph”, was created from the same source material. in contrast to “epitaph” “sechs studien” uses only abstract musical sounds: that is, sounds in whose spectrum the spoken word can no longer be recognized. the recordings were originally published on lp in 1966 (wergo, wer 60014).

terry riley / don cherry “live köln 1975” long playing record

• descending moonshine dervishes
  
  
• sunrise of the planetary dream collector
  
• improvisation

no label press release...

terry riley + don cherry köln 23.2.75 with karl berger on vibes. side a: descending moonshine dervishes (19:44) side b: sunrise of the planetary dream collector (8:12), improvisation (12:34)

alexander von schlippenbach “the living music” long playing record

• the living music
  
• into the staggerin
  
• wave
  
  
• tower
  
• lollopalooza
  
• past time

mohammad “som sakrifis” long playing record

• sakrifis (6:50)
  
• lapli tero (8:13)
  
  
• liberig min (17:00)

pan press release...

mohammad 'som sakrifis' format: lp label: pan cat.no: pan 37 release date: march 2013 mohammad is a chamber music trio consisting of coti k (contrabass), ilios (oscillators) and nikos veliotis (cello). based in greece, mohammad make long form work drone works that explore the lower end of the frequency spectrum whilst retaining an intense emotional capacity. the results are monumental slow moving physical blocks of sound, both daunting and musical. the sheer weight of these recordings is impressive, the interplay of the musicians and instruments staggering, this end result being an album rich with immense harmonious abstraction which highlights years of dedication to their unique path. following on from their previous releases (the highly regarded 'roto vildblomma' cd and the 'spiriti' 3lp box, both on antifrost) 'som sakrifis' follows the trio through three tracks of deep space experimentation where the acoustic and electronic blend together as a monumental whole. listening to 'som sakrifis' takes the listener on an expansive journey through the netherworld of the low range whilst retaining distinct traces of musicality. the time and space in these works have a logic more akin to that of hungarian filmmaker bela tarr than any contemporary music references. monumental monochromatic movement is the order of the day. sit back, strap in and let these fine explorers take you way out into the nether world. the lp is mastered and cut by rashad becker at d&m, pressed on 140g vinyl. it is packaged in a pro-press color jacket which itself is housed in a silkscreened pvc sleeve with artwork by kathryn politis & bill kouligas.

powell “untitled” twelve inch single record

• a band
  
• acid
  
  
• rider
  
• oh no new york

“stunt rock #1” magazine

• stunt rock #1 • (52 pages)

marhaug forlag press release...

stunt rock #1 published april 2013 format: 145 x 210 mm 52 pages monochrome the first issue of stunt rock is edited by sindre bjerga of gold soundz scott foust - the longest half hour in show business aaron moore - on italian prog lumpy davy - on famlende forsøk and sprø musikk tore stemland - presents 10 norwegian underground gems spanktified - noise fan fiction by seymour glass