nicholas bullen “component fixations” long playing record

• element configuration iii
  
  
• signal filament extensions

koreless “yugen” twelve inch single record

• ivana
  
• sun
  
  
• last remnants
  
• nosun
  
• never

peter kolovos “black colors” triple long playing record boxed set

• six sides
  indeterminate order
  720 sequences

thin wrist press release...

tw-i: peter kolovos "black colors" 3 lp six sides, indeterminate order, 720 sequences music, production, design: peter kolovos mastering: rashad becker photography: zoe crosher pressed at pallas, germany full color heavy tip-on slipcase & 3 full color jackets 3 x 180 gram vinyl over more than a decade peter kolovos has created an incredibly physical and dynamic musical language using the electric guitar. he plays music that unpredictably flows from electrified fragments of sound which fold and expand in dense layers and massive tones that surge and collapse in rapid succession. his approach has been called “massively a-formal” and his control of timing and texture “masterful.” rather than set harmonic or rhythmic structures, he draws form from open sequences of sound events merged and propelled by a distinct internal logic. in his music kolovos attempts to erase the line between intent and impulse and to create sounds that are immediate and unrepeatable. black colors is the fullest realization of kolovos’s music to date. over six sides of vinyl the album presents a vast world of intricate sound—at times dense and teeming with saturated bursts and drones and at others sparse with minute ticks and quiet tones that reverberate in open space. without a preset listening sequence, the album is intended to be a shifting, prismatic work—with sides that can be arranged in hundreds of different sequences, each yielding a distinct sound experience. the music on black colors is coupled with zoe crosher’s artwork. eight photographs from her "l.a. black like" series present views from the black spaces and shadows of los angeles where light and color only pierce the darkness in filtered and obscured glimpses of the outside world. beyond being created in the same time and place, crosher’s images and kolovos’s music share a deeper consonance. deluxe packaging: 3 x 180 gram high-quality vinyl pressed at pallas germany. mastered at 45 rpm for volume, dynamics, and clarity by rashad becker at d&m berlin. full-color, heavy tip-on slipcase with three full-color sleeves.

aaron dilloway “corpse on horseback” long playing record

• corpse on horseback (1)
  
  
• corpse on horseback (2)

ergot press release...

artist: aaron dilloway title: corpse on horseback catalog number: er001 format: lp (gold vinyl) edition: 500 copies release date: april 23, 2013 i am excited to announce ergot records inaugural release: aaron dilloway's corpse on horseback. originally released as a cassette on hanson records in 2003, this marks the first time that this classic 10 year old recording of ultra crude 8-track tape junk metal loops is available on vinyl. limited edition of 500 copies on gold wax.

invisible hands “insect dilemma, disallowed b/w lili twil” seven inch single record

• insect dilemma
  
• disallowed
  
  
• lili twil

rainforest spiritual enslavement “black magic cannot cross water” long playing record

• homes built over the sea (14:29)
  
  
• refuges from black magic (14:53)

“live from festival au desert (timbuktu)” compact disc

• alhassan souleyman - bienvenue (0:18)
  
• mohamed alasho - hymne ã la paix (2:02)
  
• habib koite - wari (5:26)
  
• ali farka toure allstars (feat. mamadou kelly) - adibar (4:37)
  
• tartit - democratie (4:00)
  
• bassekou kouyate - poye (3:23)
  
• imharhan - hanin ekrachar (4:11)
  
• tamnana - odwa (2:51)
  
• amanar - efes (5:05)
  
• noura mint seymali - vaghu (3:26)
  
• samba toure - anbafo (4:40)
  
• igbayen - traditional chant (3:32)
  
• khaira arby - la liberte (5:00)
  
• baba djire - dounia (4:07)
  
• kiran alhuwalia (feat. tinariwen) - mustt mustt (4:47)
  
• douma maiga - super onze (5:45)
  
• oumar konate (feat. leila gobi) - bisimillah (4:59)
  
• koudede - taghlamt (5:29)

clermont music press release...

counterpoint to conflict: festival in the desert’s musical call for reconciliation in mali the festival in the desert has been postponed due to the upheaval in mali, but its music lives on with a new live release. held outside timbuktu, the festival in the desert has long been where cultures come together in unexpected ways. artists from the arctic circle to the small pacific island of new caledonia, from rock stars like bono and robert plant to traditional musicians from remote communities, have all found a warm welcome at the festival, helping to put little-known saharan music on the global map. the thrill of the festival is palpable on live from festival au desert (physical release: april 16, 2013), a collection of prime cuts from established names and intriguing newcomers. tracks include intense live performances by innovative canadian-indian singer kiran ahluwalia backed by desert blues icons tinariwen, afropop legend habib koite, hip ngoni virtuso bassekou kouyate, timbutku songstress khaira arby, touareg rockers tartit, and a plethora of stunning musicians from around the sahel and west africa. music from mali has been flourishing for decades in the west, moving from an object of niche interest into the european and american mainstream, thanks, in part, to artists like tinariwen, salif keita, and amadou and miriam. the striking lineage of malian griots (kouyate among one of the most popular), the multifaceted music of mali’s north (as heard in arby’s songs), and the rumble and grit of saharan nomads with electric guitars (tartit / imharhan) have captured ears and imaginations worldwide, sparking an intense fanbase for mali. now times are tough. turmoil has enveloped mali. everyone’s ability to work has been extremely limited due to the fighting in the north and the mobilizations in the south. what began as a nationalist uprising in mali’s north — not far from the festival’s site — was hijacked by hard-line fundamentalists. conditions rapidly deteriorated in the region. invaluable historical monuments were sacked and destroyed and music was banned under a strict version of sharia law. january 2013, fighting intensified. france and other countries have intervened. however, the country’s woes did not stop musicians and music lovers from singing, playing, and speaking out for peace and freedom. in solidarity with the festival in the desert many musicians are determined to take a message of peace across mali and abroad. musicians and festival organizers want the conversation to move beyond violent conflict into a more productive conflict resolution. in recognition of this desire and the festival’s ongoing efforts, freemuse, the prominent ngo supporting freedom of musical expression around the world, just announced that its 2013 award is going to the festival. “in spite of extreme islamists’ attempts to silence all music in mali, the festival defends freedom of musical expression and struggles to continue keeping music alive in the region,” says marie korpe, executive director of freemuse.

wanda group “piss fell out like sunlight” long playing record

• her stomach on terror
  
  
• pans out in the afterlife

mcmxci “skogen, flickan och flaskan” long playing record

• untitled 1 (7:31)
  
• untitled 2 (7:01)
  
• untitled 3 (4:34)
  
  
• untitled 4 (8:08)
  
• untitled 5 (6:16)
  
• untitled 3 (huerco’s new age reduction) (5:30)

luc ferrari “programme commun” long playing record

• programme commun (17:17) 1972
  
  
• les emois d'aphrodite (22:48) 1986 / 1998

dieb13 / mats gustafsson / martin siewert “(fake) the facts” seven inch single record

• the fake
  
  
• the fact

peter brötzmann / chicago tentet “concert for fukushima • wels 2011” digital versatile disc

• concert for fukushima • wels 2011

trost press release...

peter brötzmann chicago tentet concert for fukushima tr114 dvd-ntsc concert film by pavel borodin featuring the peter brötzmann chicago tentet benefit concert at the music unlimited festival in wels. guests: toshinori kondo, michiyo yagi, yoshihide otomo and akira sakata shot on november 6, 2011 at stadttheater, wels, austria a co-release with panrec the profit of the sales of this dvd will be donated to yoshihide otomo's organisation „project fukushima!“.

james rushford / joe talia “manhunter” long playing record

• manhunter (1)
  
  
• manhunter (2)

chris corsano / bill orcutt “the raw and the cooked” long playing record

• the raw and the cooked (1)
  
  
• the raw and the cooked (2)
  

palilalia press release...

chris corsano & bill orcutt the raw and the cooked pal-011. palilalia records. chris corsano : drums. bill orcutt : guitar. recorded in brooklyn, philadelphia, northampton & baltimore, august & september 2012. thanks to jason meagher. photo by peter gannushkin.

idea fire company “postcards” long playing record

• air port i
  
• fiume
  
• vienna
  
• port lligat
  
• kronstadt
  
  
• tokyo
  
• st. helena
  
• oslo
  
• air port ii

swill radio press release...

idea fire company – postcards (swill radio 033) 2013 marks both the 25th anniversary of ifco and the 30th anniversary of swill radio, so what better way to start the celebrations than with a brand new ifco lp? postcards is a reworking of a cassette originally released by no basement is deep enough in 2011. re-ordered, remixed, remade, and remodeled postcards presents a more charming atmosphere than music from the impossible salon's (kye) stark melancholy. there is still plenty of piano and sad scenarios, but there are also flights of electronic fancy. eight imaginary impressionistic portraits of cities we have never been to. karla borecky and scott foust. deluxe edition. 220g vinyl. cover painting and artwork by karla; booklet with highly subjective text by me. postcards from a past that never existed. ifco march on and on.

damien dubrovnik “first burning attraction” long playing record

• key of unesco
  
• pacha counterfeit
  
• the boys lay flat on their stomachs
  
  
• blue mussels
  
• necklace
  
• first burning attraction

keiji haino / jim o’rourke / oren ambarchi “now   while it’s still warm   let us pour in   all the mystery” long playing record

• once again i hear the beautiful vertigo? luring us to "do something, somehow"
  
• who would have thought this callous history would become my skin
  
• only the winding “why” expresses anything clearly
  
  
• a new radiance springing forth from inside the light
  
• even that still here and unwanted can you and i love it? just like us it was born here too
  
• now while it's still warm let us pour in all the mystery

black truffle press release...

following on from 2012's acclaimed imikizushi (bt 007cd/lp), now while it's still warm let us pour in all the mystery is the fourth release from the established power trio of keiji haino, jim o'rourke, and oren ambarchi, recorded in january 2012 at their yearly concert at superdeluxe, tokyo. while the trio's two previous double lp releases featured sprawling, side-long performances, the music here is presented in six shorter pieces, each one displaying a different side of the trio's interactions, from holy minimalism to cave-man rock. the record begins with the trio joined by special guests charlemagne palestine and eiko ishibashi, conjuring ghostly tones from wine glasses as an accompaniment to haino's angelic vocals. this 10-minute piece, which moves from near silence and the sound of onstage footsteps to a stunning passage of clean guitar work from haino, is steeped in the same mysterious atmospherics as haino's great folk-drone project, nijumu. when haino turns to the flute on the lp's second track, a performance that clearly demonstrates the importance of the special concept of space and silence (ma) that haino has developed from traditional japanese aesthetics, o'rourke and ambarchi transform into the delicate and probing rhythm section of a classic '70s fusion side. when the trio returns to the crushing free-rock of their last two records, o'rourke's heavily effected bass rolling alongside ambarchi's tumbling rhythms as haino's guitar squeals and slashes above them, their performances display a new purposefulness and concision. now truly operating as a band after a number of years of playing together, the pieces here feel like instant rocks songs -- o'rourke and ambarchi instantly locking into solid riffs over which haino alternates between jarring no-wave chords, intense soloing and his signature vocalizations. when the trio slow down and stretch out, the rhythm section plods like an abstracted crazy horse on the brink of collapse, and haino elicits long, mournful solos reminiscent of the first classic fushitsusha double live lp. perhaps more accessible than the trio's previous recordings because of its range and concision, now while it's still warm... exudes the dark, alien quality of haino's greatest recordings and testifies to the strength of the musical bond that has developed between these three players. - francis plagne, jan 2013. limited edition lp in a lavish gatefold with a printed inner sleeve. design by stephen o'malley with high quality live shots by ujin matsuo and stunning artwork by shunichiro okada.

keiji haino / jim o’rourke / oren ambarchi “now   while it’s still warm   let us pour in   all the mystery” compact disc

• once again i hear the beautiful vertigo? luring us to "do something 6somehow" (9:52)
  
• who would have thought this callous history would become my skin (5:32)
  
• only the winding “why” expresses anything clearly (6:38)
  
• a new radiance springing forth from inside the light (9:12)
  
• even that still here and unwanted can you and i love it? just like us it was born here too (10:42)
  
• now while it's still warm let us pour in all the mystery (3:29)

black truffle press release...

following on from 2012's acclaimed imikizushi (bt 007cd/lp), now while it's still warm let us pour in all the mystery is the fourth release from the established power trio of keiji haino, jim o'rourke, and oren ambarchi, recorded in january 2012 at their yearly concert at superdeluxe, tokyo. while the trio's two previous double lp releases featured sprawling, side-long performances, the music here is presented in six shorter pieces, each one displaying a different side of the trio's interactions, from holy minimalism to cave-man rock. the record begins with the trio joined by special guests charlemagne palestine and eiko ishibashi, conjuring ghostly tones from wine glasses as an accompaniment to haino's angelic vocals. this 10-minute piece, which moves from near silence and the sound of onstage footsteps to a stunning passage of clean guitar work from haino, is steeped in the same mysterious atmospherics as haino's great folk-drone project, nijumu. when haino turns to the flute on the lp's second track, a performance that clearly demonstrates the importance of the special concept of space and silence (ma) that haino has developed from traditional japanese aesthetics, o'rourke and ambarchi transform into the delicate and probing rhythm section of a classic '70s fusion side. when the trio returns to the crushing free-rock of their last two records, o'rourke's heavily effected bass rolling alongside ambarchi's tumbling rhythms as haino's guitar squeals and slashes above them, their performances display a new purposefulness and concision. now truly operating as a band after a number of years of playing together, the pieces here feel like instant rocks songs -- o'rourke and ambarchi instantly locking into solid riffs over which haino alternates between jarring no-wave chords, intense soloing and his signature vocalizations. when the trio slow down and stretch out, the rhythm section plods like an abstracted crazy horse on the brink of collapse, and haino elicits long, mournful solos reminiscent of the first classic fushitsusha double live lp. perhaps more accessible than the trio's previous recordings because of its range and concision, now while it's still warm... exudes the dark, alien quality of haino's greatest recordings and testifies to the strength of the musical bond that has developed between these three players. - francis plagne, jan 2013. released as a 6 panel digipak cd. design by stephen o'malley with high quality live shots by ujin matsuo and stunning artwork by shunichiro okada.

richard dawson “the magic bridge” double long playing record and compact disc set

• juniper berries float down the stream
  
• black dog in the sky
  
• wooden bag
  
  
• the bamburgh beast
  
• grandad's deathbed hallucinations
  
• cumberland rag
  
  
• we picked apples in a graveyard freshly mowed
  
• newcastle
  
  
• man has been struck down by hands unseen
  
• the magic bridge
  
  
• i am not your man
  
• wooden bag (version)
  
• the marsh

box press release...

richard dawson - the magic bridge (double 12" lp) following the cd release through pink triangle, box records are proud to present the phenomenal 'the magic bridge' album on double gatefold 12" vinyl. furthermore the vinyl will come with an exclusive cdr of three previously unreleased richard dawson tracks.

hans-joachim roedelius “offene türen” compact disc

• abenteuerliche begegnung (3:52)
  
• besucher im traum (4:03)
  
• mit offenem visier (3:31)
  
• von osten her (4:20)
  
• der sieger (2:11)
  
• auf der höhe (4:01)
  
• allemande (2:15)
  
• spiegelung (2:51)
  
• husche (2:43)
  
• stufe um stufe (3:08)
  
• zeremoniell (3:30)
  
• wende (4:11)

bureau b press release...

roedelius offene türen reissue (originally released 1982) cd release date: april 12, 2013 “offene türen” is a purely electronic album. without losing himself in their infinite tonal possibilities, roedelius delights in playing a selection of synthesizers. he even deploys an analogue rhythm machine now and then to discreet effect. roedelius takes great care to steer well clear of any cosmic fog or depersonalised abstractions. nothing of the sort can be heard, as he focusses intensely and exclusively on the relationships of rhythm, harmony and melody. roedelius conjures up their delicate timbres on synthesizer with the greatest of ease. the seasoned electronic musician would have found similar results beyond the reach of his good old farfisa organ. “offene türen” is an album of electronic chamber music and only someone with as sunny a disposition as roedelius could be its composer and performer. indeed, the unfettered roedelius knew no artistic barriers in the early 1980s, following a turbulent period of personal upheaval amidst the musical revolution going on around him. he began to open up a brand new musical world, venturing forth with typical humility, as quietly and steadfastly as ever. “offene türen” marks a kind of threshold which roedelius crosses in the moment of its inception: one foot in the glorious 1970s, the other already reaching into the uncharted future of the 1980s. roedelius did not surrender his musical identity in the process, nor did he modify his inimitable artistic handwriting. both had attained a level of complexity that perhaps he himself would have found surprising in earlier days. those who have listened carefully to roedelius both before and after “offene türen” will appreciate the album’s significance. but even leaving such historical reminiscences aside, this music is incredibly vibrant and beautiful. listening to it now is as great a pleasure as it was at the time of its creation. clearly, roedelius has always been an absolute master of timelessness. - asmus tietchens

daniel menche “marriage of metals” long playing record

• marriage of metals (1)
  
  
• marriage of metals (2)

alan licht “four years older” long playing record

• four years later (15:36)
  
  
• four years earlier (19:30)

ekkehard ehlers “betrieb” compact disc

• on (0:49)
  
• inside (3:50)
  
• open (4:31)
  
• slow (3:12)
  
• wide (4:35)
  
• faster (1:16)
  
• earlier (6:07)
  
• round (0:43)
  
• wider (2:25)
  
• later (3:43)
  
• down (6:24)
  
• deep (4:43)
  
• always (1:15)
  
• shut (2:58)

human ear music press release...

ekkehard ehlers' essential electronica opus sees a breathtakingly warm analog revival. before lo-fi tape hiss and filter murk became the preferred ways of fucking up your music, all we had to rely on was the glitch. the early 2000s were the swingin' glitch years, when clicking, skipping, beat-repeat and buffer-delay seeped into every ontological stratum of music-making. but it wasn't just flashy winks teased into indie pop-dance, facile quasiclassical crossover, and bookish sound art. glitch was a grand, sweeping sea-change in how people listened to recorded music. the idea that the act of editing was now elemental, unconcealed; that seems to be the legacy of experimental electronica's golden years. and at the heart of it all seemed to lie this curious little album by ekkehard ehlers, made of nothing more than mash-ups of two of the previous century's musical sea-changers, arnold schönberg and charles ives. a high concept, even for haughty times. not exactly the stuff of poetical dreams, right? but in the decade to follow, ehlers would become well-known for balancing the heart precariously upon the intellectual sword. in his follow-up to betrieb, the ekkehard ehlers plays series, the mere thought of cornelius cardew and albert ayler were brought to bear upon a new tradition that had yet to figure out how it felt about feeling. and as any proper first album should, betrieb could have no better stated this mission of pitting concept against intuition. to this day, betrieb continues to articulate the epistemology of its era, as much as it offers timeless auditory delights. hem's 24bit remaster represents a significant update to the original sound. the original masters were transferred to 1/2" tape, and then treated to a remarkable journey through hand-wound patch cables, bespoke acoustics and humming transistors. ehlers' music not only stands up to the analog treatment, it shines: clicks and pops have become fuzzy, glowing points of starlight, while once-foggy atmospherics have become layered, multidimensional skeins of strings and smoke. betrieb was once the thinking-man's feeling-music (or the feeling-man's thinking-music). but it is now, simply, a transportive listening experience: finally the monument it always aimed to be.

michael pisaro “tombstones” long playing record

• blues fall
  
• fool
  
• new orleans
  
• silent cloud
  
  
• tombstone
  
• a stranger
  
• stop
  
• a better way
  
• why?

human ear music press release...

michael pisaro — tombstones following alain badiou, we might say that an entirely secular resurrection occurs when an idea that appears to be dead is taken up with a new impulse, possibly for different ends. the tombstones take tiny fragments of old and not-so-old songs and put them into an experimental music situation, introducing them to a kind of chaos, where the arrangement of the written out material is up for grabs. in june of 2009 we took a group of musicians to studio paradiso in san francisco, made on-the-spot arrangements of the songs and recorded them, mostly in one or two takes. i selected performances with this question in mind: did the song happen? - michael pisaro this presents an exhilarating challenge in a culture already saturated by hallucination, paradox, and shadowplay. each “tombstone”, as these tracks are called, is literally a “sampled” bit of structure, tuning, lyricism, beat or phrasing; a mystery moment sourced from perhaps, the beatles, dj screw, bob dylan or ugk, to name a few. (the actual sources are a closely guarded secret, but in some cases not hard to guess.) pisaro distills the archetype of sampling into a fragment of intention, the groundwork of a sound, and ultimately, a cultural techne at once beyond the reach, and at the origin of the act of editing. or in other words, it’s the knowledge-seeker’s paradox in music: while it is not possible to know all there is in creation, it is quite possible to distill the elegant, simple processes at its heart. with this distillation, pisaro attempts to freeze one curious tension after another, in which the voice (or the archetype of the voice) is shaken out of a field of interferences, and made to speak as if in song. in the band, electronics are conspicuously absent (but not forbidden). two electric guitars (played by grier and pisaro) appear. otherwise, tombstones relies on a rather economical spread of acoustic instruments and percussion, some conventional, some not-so-conventional. the pulsating drones of harmonium (tashi wada, julia holter) and e-bow guitar anchor the field with unwavering strings (cassia streb, laura steenberge, laena myers-ionita) and flute (kelly coats) performed without a hint of vibrato. percussionist rob esler offers a surprising range of naturalistic (sometimes eerily synthesizer-like) performances that aim for halo more than punctuation. the effect will be familiar to those who frequently listen to like-minded music whose focus is on unmediated experience of the subtlest timbres. however, in tombstones’ zoomed-in context, a double-image is generated: a face in lucidity and a face in suspense. suspended, as it were, between exhilaration and anticipation, vocalists janet kim, julia holter, laura steenberge and lisa tolentino each approach their performances in unique ways.

michael pisaro “tombstones” compact disc

• blues fall (6:12)
  
• fool (4:42)
  
• new orleans (5:16)
  
• i didn't say anything (6:45)
  
• silent cloud (6:15)
  
• tombstone (3:11)
  
• a stranger (3:04)
  
• unmoon (5:40)
  
• stop (2:44)
  
• a better way (13:45)
  
• why? (0:05)

human ear music press release...

michael pisaro — tombstones following alain badiou, we might say that an entirely secular resurrection occurs when an idea that appears to be dead is taken up with a new impulse, possibly for different ends. the tombstones take tiny fragments of old and not-so-old songs and put them into an experimental music situation, introducing them to a kind of chaos, where the arrangement of the written out material is up for grabs. in june of 2009 we took a group of musicians to studio paradiso in san francisco, made on-the-spot arrangements of the songs and recorded them, mostly in one or two takes. i selected performances with this question in mind: did the song happen? - michael pisaro this presents an exhilarating challenge in a culture already saturated by hallucination, paradox, and shadowplay. each “tombstone”, as these tracks are called, is literally a “sampled” bit of structure, tuning, lyricism, beat or phrasing; a mystery moment sourced from perhaps, the beatles, dj screw, bob dylan or ugk, to name a few. (the actual sources are a closely guarded secret, but in some cases not hard to guess.) pisaro distills the archetype of sampling into a fragment of intention, the groundwork of a sound, and ultimately, a cultural techne at once beyond the reach, and at the origin of the act of editing. or in other words, it’s the knowledge-seeker’s paradox in music: while it is not possible to know all there is in creation, it is quite possible to distill the elegant, simple processes at its heart. with this distillation, pisaro attempts to freeze one curious tension after another, in which the voice (or the archetype of the voice) is shaken out of a field of interferences, and made to speak as if in song. in the band, electronics are conspicuously absent (but not forbidden). two electric guitars (played by grier and pisaro) appear. otherwise, tombstones relies on a rather economical spread of acoustic instruments and percussion, some conventional, some not-so-conventional. the pulsating drones of harmonium (tashi wada, julia holter) and e-bow guitar anchor the field with unwavering strings (cassia streb, laura steenberge, laena myers-ionita) and flute (kelly coats) performed without a hint of vibrato. percussionist rob esler offers a surprising range of naturalistic (sometimes eerily synthesizer-like) performances that aim for halo more than punctuation. the effect will be familiar to those who frequently listen to like-minded music whose focus is on unmediated experience of the subtlest timbres. however, in tombstones’ zoomed-in context, a double-image is generated: a face in lucidity and a face in suspense. suspended, as it were, between exhilaration and anticipation, vocalists janet kim, julia holter, laura steenberge and lisa tolentino each approach their performances in unique ways.